
GpEyiiglit^- 



CDEYRIGOT DEPOSm 



^citations 
''^ C briar en 




WALTER H.BAKER CO. 



FORTY CENTS 



r 



Plays for Colleges 



The Air Spy 

Bachelor Hali 

The College Chap 

The Coiooers Maid 

Daddy 

The Deacon's Second Wife 

The District Attorney 

The Dutch Detective 

At the Sign of the Shooting Star 

The Elopement of Ellen 

Engaged by V/c:3nesday 

The Chuzzleryitts, or Tom Pinch 

For One Night Only 

Hamilton 

Constantlne Pueblo Jones 

Excuse Me 

The Hoodoo 

The Hurdy Ourdy OIri 

Katy Did 

Let's Get Married 

London Assurance 

Lost a Chaperon 

A Foul Tip 

The Man Who Went 

The Man Without a Countr? 

Master Pierre Pdtelij 

How Jim Made Good 

Just Plain Mary 

Line Busy 

Mr. Bob 

Mrs. Brlggs of the Poultry Yard 

Nathan Hale 

Patty Makes Things Hum 

Professor Pepp 

A Regiment of Two 

The Private Tutor 

The Rivals 

Silas Marner 

When a Feller Needs a Friend 

Sally Lunn 

The School for Scandal 

She Stoops to Conquer 

Step Lively 

The Submarine Shell 

The Thirteenth Star 

The Time o! His Life 

Tommy's Wife 

The Twig of Thorn 

The Amazons 

The Conjurer 

BAKER, Hamilton Place, Boston, Mass. 



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n^ 



Recitations, Drills and Plays 
for Children 



By 
BERTHA IRENE TOBIN 

n 




BOSTON 

WALTER H. BAKER COMPANY 
192 I 



^ 







Copyright, i 921, by Bertha Irene Tobin 
As Author and Proprietor 



PLEASE NOTICE 



The professional stage-rights and moving picture rights in 
these entertainments are strictly reserved by the author. Ap- 
plications for the professional use of any material in this book 
should be addressed to the author in care of the publishers. 



Attention is called to the penalties provided by the Copyright 
Law of the United States of America in force July i, 1909, for 
any infringement of his rights, as follows : 

Sec. 98. That any person who wilfully and for profit shall in- 
fringe any Copyright secured by this Act, or who shall knowingly 
and wilfully aid or abet such infringement, shall be deemed guilty 
of a misdemeanor, and upon conviction thereof shall be punished 
by imprisonment for not exceeding one year or by a fine of not 
less than one hundred dollars, or both, at the discretion of th« 
court. 

Sec. ag. That any person who, with fraudulent intent, shall 
insert or impress any notice of Copyright required by this Act, or 
words of the same purport, in or upon any uncopyrighted article, 
or with fraudulent intent shall remove or alter the copyright 
notice upon any article duly copyrighted shall be guilty of s 
misdemeanor, punishable by a fine of not less than one hundred 
dollars and not more than one thousand dollars. 



StF 15 1921 
§)C!.A624633 



CONTENTS 



FIRST PART 
Recitations for Small Children 

rxGs 

The New Car 7 

Jim's Complaint . . . , . • . 8 

A Four Year Old 9 

Sleep, Dolly, Sleep lO 

Not All Bad Luck . . . . . . la 

Proud Mister Turkey 13 



SECOND PART 
Monologues for Youngsters 

The Sewing Society ...... 1/ 

A Trip in an Automobile 19 

Playing Grandma « . 31 

Big Brother .,.,,... JJ 

The Other Side 2$ 

Getting Her Lessons . , . ... 3/ 

Getting Even .....•• 30 

Getting Ready for Thanksgiving .... 3a 

Friends 33 

My Uncle John ! 35 

The Finishing Touches 3/ 

The Skating Contest 39 

The Gardens •41 

3 



4 CONTENTS 

THIRD PART 
Drills for Children 

Tin Soldier and French Doll Drill ... 47 

Santa Claus Drill 50 

FOURTH PART 
Plays of Various Lengths for Children 

Long Ago and Now ...... 57 

Dollies and Girls 59 

Men and Women of America .... 62 

For Others 65 

•• Laugh and the World Laughs With You " . . 68 

Real Americans All 74 

The Uninvited Guest ... . . 88 

The Land of Vacation 104 



FIRST PART 



RECITATIONS FOR SMALL/ 
CHILDREN 



THE NEW CAR 

Daddy's got an automobile, 

And it can surely go! 

It's the fastest one in this here town, 

ril tell you it's not slow! 

Johnny's father's got one too, 

And he thinks it a good one, 

But my ! it can't compare with ours, 

Not for a good long run ! 

Daddy's got an automobile. 

And he'll teach me to run it. 

He teased me so 'bout being afraid. 

Till I told him : " Not one bit ! 

Afraid? Well, I just guess I'm not. 

I'm big enough, you know." 

And Dad said : " Yes." But Mother — 

She nearly fainted though. 

' Oh, Daddy, don't let Billy try. 
I'm sure he'll ditch us all. 
Oh, Daddy, careful! Not so fast." 
Now that's the way she'll bawl. 
But Daddy, it don't worry him. 
He just keeps teasing so. 
And tells her : " You'll be a-running 
This car yourself first thing you know." 

Daddy's got an automobile, 
And I'll soon learn to run it, 
And how to go around a curve, 
And a rut — just how to shun it. 
Then when I get older, see ? 
I'll tell you what I'll do, 
I'll have a great big airplane 
And learn to fly it, wouldn't you? 



RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 



JIM'S COMPLAINT 

I tell you Vm not a little baby, 

If Fred does say I am, 

And leaves me home all by myself 

While he goes off with Sam. 

Fred thinks that he's a grown-up man, 

But he isn't, not a bit! 

You wait till I get big as him, 

And then I'll be the " it." 

He tells me, " Oh, you little kid, 
You're too small to go with me. 
Why you're a regular nuisance ! 
Now, you stay home, Jim, see ? " 
Gee! That makes me mad, it does! 
And I'll just show him some day 
That small boys are not babies 
And not always in the way. 

Humph ! There he goes now, Smartyf 

Going to skate, I know. 

I guess I'll follow after him, — 

But then I can't skate though. 

What'd I care anyway? He's just as mean 

As mean as mean can be ! 

But I'll get even with him 

If it takes forever, see? 

Some day when I get bigger, 

I'll just pass him right by, 

And then he'll be sorry that he 

Ever acted so. For my, 

I'll be a big man then! And Fred, 

Maybe he won't be at all. 

And — oh, what's the use of complaining? 

Mother, where's my ball? 



RECITATIONS 



A FOUR YEAR OLD 

Tm only a little girl, you say. 
I'm only four years old to-day. 
But if I am small, Til let you know 
That I am '" mighty," my dad said so ! 

He said I was like the four-leaf clover 
I found when at play in the yard with Rover, 
I bring good luck to all who are near. 
And when Fm good, I'm a ** regular dear." 

My dad said that good luck was ever found 
Whene'er there's a good little girl around. 
And so you see if I am so small, 
I'll bring the best of good luck to you all. 

It is nice to find a four-leaf clover, 
And I think I'll hunt again with Rover, 
And then the clover will bring to me. 
More good luck to give to you, see ? 



10 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 



SLEEP, DOLLY, SLEEP! 

(For a little girl. She enters carrying a doll in her 
arms, and stands talking to it, until she asks, " Why, 
are you sleepy, dolly f " then she sits and rocks doll 
in arms. Rises on first line of last verse, places doll 
on chair, covers it, then exits.) 

Don't you like my dolly ? 
I think she's very fair. 
Her eyes are blue, you see. 
And golden is her hair. 

Oh, she is such a good dolly. 
She minds everything I say. 
All I have to tell her is, 
•* Now don't do that, Miss May I "- 

Why, are you sleepy, dolly ? 
Well, come and go to sleep. 
Here, lie down now in my arms- 
No, dolly mustn't weep ! 

Listen, now, I'll sing to you. 
Just like Mamma does to me. 
Go on to dreamland, my dolly dear. 
That's where you ought to be. 

(Sings the following to tune of " Baby's Booths a Sil- 
ver Moon.") 

Mamma's dolly, go to sleep. 
Close your eyes, now do ! 
Mamma loves her dolly dear, 
Loves her very true. 



RECITATIONS II 

Sleep, dolly, sleep, 
Don't you dare to weep ! 
Close your eyes and soon you'll be 
Fast asleep, you see ! 

{Speaks again,) 

Now my dolly is asleep. 
Guess I'll lay her here, 
And cover her up so nicely. 
Good-night, my dolly dear. 



12 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 



NOT ALL BAD LUCK 

Gee, I believe it's going to rain. 
There's clouds over in the West. 
Mother says that it's no matter, 
That whatever comes is best ! 
But someway I don't always see it, 
No, I don't think I do ! 
For I'm sure that I'd much rather 
Have that sky up there all blue. 

We are going to have our ball-game 

This afternoon at three, 

Over on the old school campus; 

Now, it will rain, oh gee! 

I hate to wallow round in the mud ; 

Can't play half as well, I know, 

As when the ground is hard and dry — 

But, then, neither can they, though. 

Ours is the team that's best of all. 

Best of any near here. 

Those " Sunny Jims " — why they can't play. 

We can lick them, never fear ! 

So let it rain if it wants to rain. 

My suit needs cleaning anyway, 

And I won't have to clean it now. 

For it will get muddy again to-day. 

Let it rain, oh, I don't care ! 
Who's worrying about it? 
I'm not, I'll have you notice! 
I'm not ! You hear me shout it ! 
There's no use to grumble anyway. 
It does no good to whine. 
And after all their team's so punk 
We can beat them, rain or shine ! 



RECITATIONS 1 3 



PROUD MISTER TURKEY 

Old Mister Turkey Gobbler 
Held his head so high, 
When a little maiden 
Tried to pass him by. 

Then she drew back in terror ! 
*' Oh, Mister Turkey, say. 
Do go away, now, won't you, 
Please now do go away ! " 

But Mister Turkey Gobbler 
Did not pay heed to her. 
But strutted all the prouder. 
And she was afraid, yes sir! 

•' Never mind. Old Gobbler," 

Then the maiden said, 
" It will soon be Thanksgiving. 

You'd better watch your head! " 

But alas, for Mister Turkey, 
No heed to her he paid. 
So when Thanksgiving came, 
Thus spake the little maid : 

" I told him not to strut so. 
Nor to hold his head so high, 
But he just wouldn't listen 
And so he had to die ! " 



SECOND PART 



MONOLOGUES FOR YOUNGSTEKJS 



THE SEWING SOCIETY 

(Four minutes) 

(A monologue for a girl) 

The Sewing Society met with my mother the other 
day, and I just had the grandest time ever was, watch- 
ing them. Some of them were awful nice and good to 
Httle girls, but others didn't pay any attention to me at 
all. Just looked past me as though I was the " grass 
under their feet." I heard Mrs. Hall say that once, and 
I say it sometimes, *cause it makes me seem grown-up. 

There was one woman that came and I didn't like her 
at all. Her name is Mrs. Overmuch, and I know this 
much, she can talk too much. This is just about the 
way that woman acted: 

{Impersonates an affected woman.) Why, how-do- 
you-do, Mrs. Jones? How are you, anyway? Is this 
your little girl? I know though, she is, for she looks 
so much like your husband — has his turned-up nose 
and small eyes to a T, hasn't she? Oh, yes, and 
your freckles. Looks a little like you both in fact. 
(Takes a step forward.) How-do-you-do, Mrs. 
Bateman? — and Mrs. Adams — and if here isn't Mrs. 
Craig. (Bows to R. and l.) How-do-you all do? But 
where is Miss Linsey? She's always early for fear she 
will miss something. (Sits down, spreading out her 
dress, very affectedly.) 

I never saw such a peculiar woman as Miss Linsey, 
anyway. Have you heard the latest about her? Well, 
you just wait until I get my sewing out (Action.) and 
ril tell you. (Rocks and sews.) You all know that she 
is thought to be about the most hopeless old maid around 
here, and that her chances have been few and far be- 
tween, if any. Well, if you'll believe me, she and old 

17 



l8 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

man Wagner have been having a regular case, just act- 
ing Uke a couple of children. Oh, sh — sh — sh ! There 
she comes! Why, how-do-you-do, Miss Linsey? What 
kept you so long ? You don't say ? A snake ! Was it as 
large a one as that? Oh, I'm sure I don't see why you 
should be so frightened at a small snake. 

{Natural voice of child.) That was all I heard her 
say, for I went out on an errand just then. But when I 
came back she was talking as hard as ever, and she was 
giving it to some one else then. But, anyway, I g^ess it 
was old man Wagner, for she said to Miss Linsey after a 
while : 

{Impersonates again.) Oh, I see. Miss Linsey, when 
you screamed, he — Mr. Wagner came to your help. Oh, 
I understand, but after all, didn't you feel silly to have 
screamed at such a trifle as a tiny snake? {Screams 
and jumps up.) Oh, oh, oh, do look! O-o-o-o-o! A 
horrid snake, right under my chair. {Jumps on chair, 
holds skirt tight.) Oh, kill it, somebody. I never will 
dare to get down unless you do. Oh, oh ! ( Turns sud- 
denly.) What are you laughing at, you rude child? — A 
toy snake? {Gets down.) Well, I think some children 
had better be raised properly. Mrs. Jones, I am com- 
pletely unnerved, and will be forced to go home at once. 

{Child's own voice again.) Oh, but she was mad. 
She just flung herself out of that house. But I ran after 
her and called : " Oh, I wouldn't be afraid of a little 
snake." 

Oh, yes, of course I was punished and punished hard. 
But it was worth it just to see the way that mean old 
thing jumped. Oh, yes, I had put the snake there. That 
was why I went out while she was talking. 

I had lost it in the yard, and didn't know where it was, 
till Miss Linsey said she saw one in the yard. So I got 
it and put it to good use. Oh, I didn't care if I did have 
to be punished, it was surely worth it. 



MONOLOGUES I9 



A TRIP IN AN AUTOMOBILE 

(Three minutes) 

(A monologue for a small girl) 

My Uncle Bob's got the finest new automobile you ever 
saw. It'll hold a great big lot of folks, and it has the 
nicest cushions to bump up and down on. Mamma says 
she don't like to bounce quite so high as we did once 
when we struck a mud-rut. But I do. You're sitting so 
still and all at once you go up in the air like a sky- 
rocket, and then you come down on the cushions 
bumpity, bump, bump! Just like this. (Jumps up and 
down.) Oh, I think that is just lots of fun. 

I love autos anyway. They have such big bright lights. 
But, say, I think those lights look real scary, when they 
come at you in the dark — just like two big eyes. My papa 
said one time when the one coming towards us did not 
turn down their lights, that they were fierce. That he 
didn't blame horses for being afraid of them, 'cause 
that S-S-S — oh, who was it? Well, anyway, somebody 
himself, couldn't look worse coming at you with lights 
in his horns. I guess he meant a cow, don't you ? 'Cause 
cows's got horns. 

One day Uncle Bob took us all to the races at the 
fair. Papa sat in front with him and he looked at his 
watch and said we didn't have much time, and Uncle 
said yes, but that that was why he liked an automobile, 
they were so sure. You could get most any place on 
time, even if you did once in a while have to burn a little. 
Let me see, did he say burn? — I think that's it. Anyway, 
I know it sounded like clothes smell when Bridget gets 
mad 'cause the iron's too hot. 

And we went so fast part of the time. But I liked 
the bumps and I liked the wind cutting my face. But 
just as we got a little past half-way, and were making 



20 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

" such good time," Uncle said, something went z-z-z and 
" chu-chunk " and we stopped with a jerk, and I almost 
went out on my head, I did. Then they had to work on 
that machine, and Uncle got real mad, but at last we got 
to go on again. We got to the fair late, but got to see 
some of the races after all. But my papa said when we 
got home that he guessed he wouldn't get a car right now, 
for it was too hard on your nerves and temper. What'd 
he mean, I wonder? But I wish he would; for I like 
them, I do, even when we stop off short like that and 
everything. 



MONOLOGUES II 



PLAYING GRANDMA 

{Three minutes) 
{A monologue for a small girl) 

{Enter, wearing a long skirt , pinned up high at waist- 
line, a cape or old-fashioned shawl thrown around 
shoulders. Hair rolled hack and powdered. Walks 
in like an old woman, picks up spectacles and puts 
them on.) 

Now, where did I put my knitting? I shouldn't won- 
der if that naughty child, Lulu, hadn't hidden it again. 
{Hunts.) I really do not see what Ruth will ever do 
with that child, she's such a dreadful little mischief. 
{Finds knitting.) Oh, here it is! Right under these 
papers. I just knew she'd hidden it. Bad, bad child! 
I really must tell Ruth to punish her. She's fast grow- 
ing beyond her, I'm afraid. 

{Sits and rocks as she tangles up knitting, hums an old 
hymn, her ball drops and rolls around on floor, she picks 
it up, tangling it more than ever.) These glasses are so 
dim I just cannot see anything. (Cleans them.) Here 
comes that child. Now, Lulu, you must not touch those 
books. Put that one right back. Right away, do you 
hear me? Now, do go out and play. Go on, I say, or 
I'll call your mother. (Resumes knitting, yawns, then 
jumps up and begins to talk in natural voice.) I'm tired 
of playing Grandma. Did you think I was really 
Grandma ? I'm not. I'm Lulu, that bad child, you know. 
At least Grandma thinks I'm bad. I powdered my hair 
{Shakes some on floor.), then I put on this shawl, and 
this long skirt. (Takes them off, as she mentions them. 
She is just dressed as a liitle girl.) Grandma's taking 
her nap. So I thought I'd see how it went just once to 
act like she does. Listen. There she comes. What'll I 



22 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

do with these things? {Rolls them hurriedly into a 
bundle and puts it by the door.) Oh, she'll be hunting 
her glasses. I'll put them with her knitting and she will 
never know I've touched them. {Jumps away from table, 
looks very innocent,) Grandma, did you have a nice 
nap? Your glasses? I'll hunt them for you. Maybe 
you dropped them. {Goes to table.) Oh, here they are. 
Will you let me put them on for you? {Action.) My 
hair? Oh, I was just playing grown-up and I powdered 
it. No, Mother won't care, either. She lets me play 
it whenever I want to. No, she says the powder doesn't 
hurt my hair. See, it comes right out. {Shakes head.) 
Your yarn's all tangled up? {Very much surprised.) 
How do you s'pose it ever got that way? My being so 
good now makes you s'picious of me tangling it ? Why, 
Grandma, whatever would I do it for? {Starts to edge 
toward door, where she put the bundle; stops.) Oh, I 
know. I'll just bet that mean old Tabby-cat did it. I'll 
run right out and catch her, and scold her good and 
hard. Yes, I will. {Snatches bundle hurriedly, while 
watching where Grandma is supposed to be sitting, then 
looks at audience and grins, and runs out.) 



MONOLOGUES IJ 



BIG BROTHER 

(Three minutes) 

(Monologue for a little girl) 

Oh, I have the meanest big brother there ever was. 
He teases me dreadfully. But he can be as nice as pie 
when he wants me to do something for him — run some 
errand, Uke as not. But I always know why he is honey- 
ing around and then I say : " Oh, you are too good to be 
true. What is it you want me to do ? I am sorry, but I 
am very busy to-day. I haven't time to do what you 
want, whatever it is." 

But if he would be good to me all the time I'd just 
love to be nice to him. But I'm not going to do all the 
being kind and good. Anyway, he's bigger than I am, 
and Mother says he should " set an example for me ! " 
Oh, my, if I followed his example, wouldn't I be a nice 
little girl? What does he do? Why, everything. He 
is an awful tease. 

The other day Bettie Brown was here and we were 
out in the garden playing " come and see " with our 
dolls. And Bettie had just been to call on me, and her 
doll had been naughty, and had to be spanked good and 
hard. And then as she was starting to take her home — 
not to her really home, you know, but her play, " make- 
believe," I said: 

" Come back again, Mrs. Brown, when your little girl 
can behave better. I'll come over to your house for tea 
after a while, and bring my good child." 

" Well," said Bettie, " I don't know as my little girl is 
any worse than yours. I have known your child to be- 
have in even a worse way. But come for tea, I'll expect 
you." 

And she pretended that she was of -of -off ended, and 
was starting to her house, about like this. (Imitates a 



24 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

haughty walk, shrugging her shoulders, now and then.) 
Her house was over behind the rose-bush. Suddenly we 
heard Bob laugh and saw him run away from there. And 
you should have seen us run. We knew he had been up 
to something. 

We had everything out on my little table for our tea- 
party. But Bob had been there and, as we were afraid, 
had eaten up our cake and bread and butter and every- 
thing we had fixed for our tea-party. He had even up- 
set the table, and everything. 

I just cried and screamed for Mother. She came out 
there and said Bob had been very naughty and that she 
would give him a ** good talking to." And then she gave 
us another party. But that is the way I have it all the 
time. Sometimes I almost wish there weren't any big 
brothers in the world ! 

But, say, I think Bob needed a good, sound thrashing, 
instead of a " talking to." Don't you? 



MONOLOGUES t^ 



THE OTHER SIDE 

{Four minutes) 

(Monologue for girl) 

(She is dressed in shabby clothes, and is carrying 
school-books.) 

I'm only a poor little girl. But I know when I'm not 
being treated right, I do ! I do not want to go on home 
this afternoon. The other girls are going on a picnic. 
There is a half-holiday from school, and oh, they will 
have a good time ! But then I don't get to go. Oh, they 
were kind enough to ask me, but Mother felt that she 
could not afford to fix me any lunch. I just hate to be 
so poor, I do. It just isn't fair. (Starts to cry, swallows 
hard a few times then tries to brighten up.) 

But I just won't cry about it. I'll see if I can think 
of something funny instead. (Thinks, then laughs.) 
Of course I can! Only this morning I had a laus^h. I 
helped take Mrs. Benton's clothes home for Mother, and 
her little girl came running out to see me. She always 
does when I go there. I knew she had her tonsils and 
adenoids taken out last week. So I said, "And how is 
Gertrude this morning?" And she answered, " I'se all 
right. Tum in and see my new dolly. Daddy gave it to 
me, 'cause I'se a good little girl. I had my ag-e-noids 
out." And she said it so funny. She just wrinkled up 
her little nose and drawled out the word like it was a big 
mouthful, just like this: (Imitate while repeating word, 
then laugh.) "Ag-e-noids." Oh, she is so dear and 
funny. 

Well, I must run on home. I have almost forgotten 
about my disappointment about not getting to go to the 
picnic. See? It isn't difficult to forget our troubles, if 
we only try hard enough to forget, and then to think of 
something else instead. It does no good to pout any- 



a6 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

way. So it's on home for me. I'll just start on and 
get it over with. I expect I can find something to do at 
home that'll be fun ! And so I'm oif ! (Starts off, then 
stops suddenly.) 

Why, Margaret, I thought you girls had all gone. — Not 
without me! But you see I cannot go. {Embarrassed.) 

I — I — I — you see — my mother — why What's that ! 

You don't care about that ? You have more than enough 
for two? And the others want me to go, too? Oh, 
how darling of you all. Of course I'll go! I came al- 
most crying about it. I was so sorry for myself. But 
now, how glad I am that I did not cry ! {Goes off laugh- 
ing.) 



MONOLOGUES I'J 



GETTING HER LESSONS 

{Five minutes) 
{A monologue for a girl ten or twelve years old) 

{She has books on the table in front of her, and a 
tablet and pencil in her hand. She is working her 
arithmetic problems.) 

One and ten are eleven, and eight are nineteen and 
five are twenty- four, and — I'm tired of lessons anyway. 
Where was I ? Oh, yes, twenty- four and eight ? Twen- 
ty-four and eight? {Calls.) Mother, how much are 
twenty- four and eight? — Think it out myself? I have 
thought and thought. {Puts hand to head.) Twenty- 
four and eight. Well, I don't know what it is. {Counts 
on fingers.) Twenty-five, twenty-six, twenty-seven, 
twenty-eight, twenty-nine, thirty, thirty-one, thirty-two — 
that's it, thirty-two. Thirty-two and nine ? Oh, I'm go- 
ing to stop studying arithmetic and study my language. 
{Puts one book on table and picks up another, turns the 
pages as if hunting lesson.) What is the lesson any- 
way ? I know, here it is. " Tell, or write, a story about 
some pet animal." We have to write our story. 
{Studies.) What will I write about? {Picks up tablet 
and writes again, speaking slowly while writing.) 

We have a dog. His name is Rover. Rover will run 
and pick up a stick whenever I tell him to. Rover runs 
the cat. He don't seem to like cats very well. One day 
he chased our cat up a tree. Rover barked and growled, 
and the cat put up her back like she does when she is 
angry and just spit at him, she did. {Speaks without 
writing.) Now look what I have done, I went and put 
that " she did" at the end of that sentence, and now 
teacher will make me write it all over. She said she did 
not like me to use it that way, she did. There it goes 



28 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

again. O dear! Anyway, I'm not going to write it all 
over now. I can't help it if I did leave that old cat 
up a tree! Suppose I can take it down when I decide 
to finish my language. (Laughs.) 

I'm going to practise my music now. (Calls.) 
Mother, may I practise my music now? — No, Mother, 
not quite. I've my arithmetic and my language. I have 
my reading to do yet, but I'll finish it after I practise. 
(Goes to piano, sits down, runs a scale or two, then 
whirls about on stool.) Now I'm going to play I'm big 
sister and that I am to play the piano like she did at her 
recital last week. (Rises, smooths hair and dress, goes 
to table and finds a powder-puff, shakes some powder 
over face, gets it in nose and eyes. Coughs and blows 
and makes a face.) Whew! That stuff's awful. 
(Calls.) Yes, Mother, I am practising. — You don't 
hear me? Why, I — I — I'm studying the notes. (Runs 
back to piano, smooths out dress, smiles and bows af- 
fectedly to audience, then plays a little piece, putting on 
many airs as she does so.) That's the way my sister 
does it. (Goes back to table and picks up a book.) 

Now I will study my reading-lesson and then I will 
be through. — Here it is. (Stands in a careless, slouchy 
attitude, and reads in a sing-song voice and very rapidly.) 

" The Mountain and the Squirrel 
By Ralph Waldo Emerson 

The mountain and the squirrel 
Had a quarrel, 

And the former called the latter " Little Prig." 
Bun replied: 
" You are doubtless very big, 
But all sorts of things and weather 
Must be taken in together 
To make up a year 
And a sphere. 
And I think it no — no " 

(Calls.) Mother, what does d-i-s-g-r-a-c-e spell? 



MONOLOGUES 29 

Disgrace? Oh, yes, that's it. What's that?— Why, 
Mother, I am not reading hke that. I'm reading like we 
do at school. — Why, Mother, I am standing straight. 
{Straightens up.) Yes, Mother, I do know better and I 
will try again. And if I get it right, may I go out and 
play? — Thanks. {Finishes the reading as well as she 
can read.) 

" And I think it no disgrace 
To occupy my place. 
If I'm not so large as you. 
You are not so small as I, 
And not half so spry. 
I'll not deny you make 
A very pretty squirrel track. 
Talents differ, all is well and wisely put. 
If I cannot carry forests on my back. 
Neither can you crack a nut." 

(Calls.) Wasn't that better, Mother?— May I go 
now? — Thanks. (Looking about.) Where's my skates? 
(Picks them up from a corner.) Here they are. Now 
for some fun. (Blows a kiss at books.) Good-bye, old 
books. I'm very glad to leave you. (Swings skates 
over shoulder and skips off.) 



30 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 



GETTING EVEN 
(Three minutes) 
(A monologue for a small girl) 
(Enters wearing a play-suit and pushing a doll buggy.) 

My mother says I am a very bad little girl for run- 
ning away. But I cannot see why. Every day she says 
that she must take our baby out for an airing. But 
goodness, she thinks I must not take my dolly out, oh 
no! (Picks up doll.) You're just as beautiful as our 
baby and you need the air just as much as she does. 
But every time I start out to take you for a tiny little 
stroll just by myself, Mother rares, that's what she does. 
My father says " rares/' so I guess I can ! (Puts doll 
back in buggy. ) 

Sometimes Mother sends Maggie after me. Maggie's 
our maid, and when Mother isn't looking, sometimes she 
just jerks my arm something fierce. (Sits down on 
floor and pushes buggy back and forth.) And when I 
tell Maggie that I am going to tell Mother on her, she 
says she will slap me if I do. But I'm going to get even 
with her, I am. I know how I can. I'm going to tell 
my mother and my father about that man I saw eating his 
supper in our kitchen one night. He ate an awful lot. 
I stood behind the door and watched him. He put a 
great big piece of potato on his knife and put it in his 
mouth, he did. I was so afraid that he would cut himself 
that I forgot I did not want them to know I was there 
and I ran out. " Oh, be careful, you'll cut yourself. 
Why don't you use your fork? And besides it is not 
polite to eat with your knife that way. I know." 

That man just threw his head back and slapped his 
knees and laughed and laughed, like this — (Imitates.) 
But Maggie was awful cross. Said she would slap me 



MONOLOGUES 3 1 

good for sneaking round watching. But then she gave 
me two cookies for not telling that man was there. I 
didn't tell, 'cause I wanted the cookies. I didn't tell 
then, that is. I'm going to tell some time though if she 
gets smart. 

(Jumps up.) Oh, dolly, it is time we were running 
home. (Listens.) That's Maggie, sure enough. (Calls.) 
Yes, I'm coming. I 'tended to come all along. 
(Reaches entrance, then jerks hack.) You just quit 
that jerking me, Maggie. — No, you won't slap me either. 
For if you do I'll tell Mother about that man. — Yes, I 
will, too. — Well, then, you let me be. No, you go first 
and I will come. (Goes off, making a face, evidently at 
Maggie. ) 



32 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 



GETTING READY FOR THANKSGIVING 

{Two minutes) 

(A monologue for a small girl) 

{A small girl in a playroom, two dolls lying on a chair. 
The child begins to speak as she enters. She moves 
about the stage dusting and moving chairs.) 

To-morrow's Thanksgiving! We are going to have 
the family dinner here this year, and so we are very busy 
people. That's what Mother says. And I have to dust 
and straighten up my playroom. Mother says I must 
clean it so it will be as " neat as a pin." And that when 
Helen and Fred and Fay and the rest of my little cousins 
come, I must be an unselfish little girl and let them play 
in here with my things. That's all right. (Goes to chair 
upon which the dolls are.) Of course I do not intend to 
be selfish. But if Fred should be rough with you, my 
darling Angelina, and try to swing you by your lovely hair, 
like I saw him swing Helen's dolly once, I'll show him! 
(Stamps foot.) I won't have it, I can tell you. — Why, 
Angelina, did I frighten you? (Sits and rocks dolly in 
her arms.) There now, darling, I didn't mean anything 
dreadful. (Sings any little song.) Oh, you have for- 
gotten it, now, haven't you? Why, you are sound 
asleep. I'll lay you over here in your little bed. (Puts 
doll down car ef idly.) There, you are all right. (Lis- 
tens, then runs to door.) Yes, Mother? I'm coming. 
My playroom is all dusted now. (Kisses dolls.) Be 
good children until to-morrow. And be sure you are 
properly thankful that you have such a nice home as this. 
To-morrow is Thanksgiving, remember, and you must be 
very good. — Yes, I'm coming. Mother! (Runs to door, 
then turns and throws kisses at dolls.) Good-bye, 
dollies, dear. 



MONOLOGUES 33 



FRIENDS 
{Three minutes) : 
(Monologue for boy) 

My dog's named Jack! And he's the best dog I ever 
knew. Dad says that's not saying so much, for Jack's 
the only dog I ever had. But I don't care how he teases, 
I think Jack's a ^reat dog anyway. And so would you 
if he's your dog, and if he had done as much for you 
as he has for me. — What'd he do? Why, just lots of 
things! He follows me almost everywhere I go, and 
he — — To school ? Well, no, he isn't allowed to go to 
school with me now. He went one time too many. Dad 
says, anyway I — Tell you about it ? All right, I will. 

You see, I go to a Centralized School, and we go in a 
school van. Jack used to follow along behind. Our 
house isn't so far from school, and Jack used to like the 
run. Then when we got there, he'd play with us kids till 
school opened, and then when we went in he seemed to 
know that he had to stay outdoors. That is, he would 
if the weather's good, but if it'd rain, he'd sneak into 
the hall. But he would be real still. 

One day there was a rabbit ran across the yard and 
Jack saw it. Of course he started to run it. And that 
rabbit didn't do a thing but run through the hall and clear 
around our schoolroom. And when the kids saw it 
a-hopping in they just stood up and yelled! But that 
wasn't all. I guess Jack would have caught that rabbit 
all right if it hadn't been for teacher. She was writing 
our lesson on the blackboard, and so she had her back to 
the door. Of course she couldn't see the rabbit. That 
is, she didn't, even if Tommy Graham does say she has 
"eyes in the back of her head." But she heard the 
noise all right, and she whirled around and said : " Chil- 
dren, down in your seats this minute ! What is the mat- 



34 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

ter with you anyway ? Down, I say ! " Then down she 
went! Jack came along just then and he just knocked 
her over flat. And then he got all tangled up in the 
sash she was a-wearing, and he tore it. And then he 
lost track of the rabbit. For when he got loose it was 
gone. But he didn't care half as much about the rabbit 
as the teacher cared about him. Mad! That teacher 
was madder'n a wet hen! 

" William Frazer Jones, you and your dog are excused ! 
And you need not come back until you can apologize, and 
until you learn that school is no place for dogs I " And 
she just " rose up in her dignity," as Sis says Auntie does 
sometimes, and she shut her mouth up tight. And so 
I whistled to Jack and just scooted 1 I had to walk 
home, but I didn't mind that. I hated to explain to 
Mother and Dad though, I can tell you ! But Dad didn't 
lick me though. He just said that I had to apologize 
to teacher for Jack, and that I must see that Jack did 
not go to school with me again. — What's that ? Oh, yes, 
of course he wants to go a lot of times, but I just say, 
" No, Jack, just go back, you cannot go." And he minds ! 
Oh, he stands by me, he does, and I stand by him. We 
are both good, and both bad, by spells. But we always 
stand by each other. I tell you Jack and I are friends ! 



MONOLOGUES J% 



MY UNCLE JOHN! 

{Five minutes) 

(Monologue for boy) 

(The boy enters carrying his cap, he waves cap in air, 
and begins to speak.) 

Hurrah ! I say, hurrah for my Uncle John ! He's the 
kind of an uncle to have. He came out to our house 
to-day, and he asked my mother: "Where's James?" 
And Mother told him I was playing out in the back yard 
with Billy Bailey, Then he told her to call me. But of 
course I didn't know he was there, and so when Mother 
called : " James, oh, James, come here, I want you," I 
was just mad all over. I said to Billy, ** Oh, I just bet 
you she wants me to take my bath or something like 
that. Gee! mothers make me tired. I wish I didn't 
have to go ! " Then I decided to pretend that I did not 
hear. But she called again, " James, come here this 
minute or you'll be sorry ! " just like she meant it that 
time. I answered, " Yes'm, I'm coming as fast 's I can." 
Then I went just as slow and as slow as I could to the 
house. But when I saw my Uncle John I hurried up, I 
can tell you. 

Uncle said, " I am looking for a little boy about your 
size to go to the Zoo with me." Then I just shouted, 
and I didn't even complain when Mother made me wash 
my neck and ears. 

Well, we went ! My Uncle John is surely great ? We 
saw all that Zoo, I just know we did ! The lions roared 
something fierce to-day. And the tigers seemed on a 
rampage too. Uncle said. Then when we reached the 
snakes, and the alligators and the hippopotamuses that 
were there. Uncle stopped and told me 'bout how they 



3$ RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

live in their native state, and I enjoyed it heaps more 
than I ever did before. 

Then, of course we fed peanuts to the elephants. But , 
the best of all, Uncle got the man to let me ride on one of 
them. I had begged and begged Mother to let me ride 
on one when she took me, but she said, " Oh, no, James, 
dear, you might get hurt. Come on away, now, that's a 
good boy." Humph! Women make me tired. What 
fun is it to go any place with a woman anyway? I told 
Uncle about it, and about how Mother would not let me 
ride. And I said it wasn't any fun anyway when a woman 
was around, and asked him if he thought it was. He just 
laughed and said, " Well, James, sometimes it depends 
on the woman. But more often it depends on the age of 
the man. Now, you see, I am older than you, and there 
are times when I rather like to have one woman around ! " 
Now, what do you suppose he meant by that? Do you 
really suppose he is going to marry that Miss Mabel 
Morris, I've seen him with so many times lately ? I hope 
he is not. Maybe then she wouldn't let him take me to 
the Zoo again. Most women don't let you do anything 
you like. So I've noticed! At least Mother doesn't. 
But of course I have to stand it from her, because she is 
my mother. But on the whole, I guess I don't care much 
for women! And I'm just a lot disappointed that fny 
uncle does. 

Last of all we went to see the monkeys, and oh, such 
fun as we had. Uncle John laughed as much as I did. 
They hold their heads so funny, when they look at you. 
Sort of sideways it is, like this — (Imitates.) 

We surely did have a grand time. Uncle said we 
would go again sometime. Gee, he's great, he is ! Don't 
you wish you had an uncle like my Uncle John? 

( Goes off whistling. ) 



MONOLOGUES " J7' 



THE FINISHING TOUCHES 

{Four minutes) 

{Monologue in child dialect) 

{Character: A small boy, getting ready for school.) 

Where's my cap, anyway? Mamma, Mamma, do yoii 
know where my cap is ? — I did put it where it belonged — ■ 
yes'm ? I'm sure I did. But it isn't here. (Looks about, 
stoops and picks up cap from floor. Calls.) I've foilnd 
it. Under the stand. I don't see how it got there, for 1 
know I put it where it belonged. — Ma'am? — Yes'm, it^s 
clean. I am sure of it. I washed it yesterday. What 
more do you want? — No'm, I didn't aim to be rude. — 
Can't I go now? — Oh, I haven't time. (Goes to r., 
pouting.) Oh, well look then. (Holds head first to one 
side and then to the other.) Oh, it don't need washing. 
Please, Mom, let me go. I'll be late if you don't. Here's 
for it then. (Splashes water on face and neck with 
hands.) No, I don't need any old wash-cloth and soap. 
It isn't that dirty, I know. All soap's good for anyway 
is to get into your eyes and make you cry. — Oh, but I'm 
in a hurry. — Well, hand it here then. (Imitates hurried 
washing with soap.) Where's that towel? (Eyes shut, 
holds hands in front of him as if feeling for towel.) 
Jolly ! that old soap did get in my eyes. What did I tell 
you? (Dries face.) Now, I just bet I'm clean. Where 
did I put that cap ? Oh, here it is. I'm off now. Good- 
bye! (Starts, comes back.) Ma'am? Come back? 
What for? I'll be late to school if I do not go right this 
minute. — Well, look ! — Not clean ! Oh, Mom, you're not 
going to try and wash it again, are you ? My neck don't 
show so awful much anyhow. But I have my collar on. 
(Turns head as if holding it to be washed. Fidgets, and 
draws away. ) Ouch ! Goodness, Mom, don't take all 



jS RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

the skin off. Look out, now you did get that old soap all 
in my eyes. (Cries.) That's too hot! Look out! I'll 
just bet you did take the skin off, too. 

(Stands on one foot then on other, and fidgets more 
than ever.) 

Well, you had better hurry up, that's what ! If you do 
not want me to get a tardy mark. — It's clean, now, is it ? 
Well, then hand me that towel and I'll get it done in a 
jiffy! (Uses towel, then once more picks up his cap.) 
I'm off now for sure. My neck won't have to be scrubbed 
again for a week, will it ? Oh, it won't either. I never 
could see what difference it makes anyway. 

Grood-bye, Mom. (Goes to entrance, then calls as he 
leaves stage.) Tommy. Tom! It's school time. Come 
on. Ain't you ready yet? Tom-my! 



MONOLOGUES 39 



THE SKATING CONTEST 

The ice on Crystal Lake lay clear and sparkling in the 
sunlight. It was on an afternoon in late February, and 
all the boys and girls of Old North High School were on 
the ice. At least it seemed like they were all there. 
There were so many of them. The lake was just gay 
with red, yellow, green, blue, and oh, all colors of tobog- 
gans and sweaters. And the air was full of happy 
laughter as the skaters glided swiftly by. 

Then I noticed a merry group of boys and girls coming 
up from the other side of the park. And then this yell 
broke out upon the air : 

"Rah! Rah! Rah! 
For Clifton Heights! 
What's the best school of them all? 
Clifton Heights, Hurrah ! " 

But this yell had scarcely died away, when from the 
ice I heard the answering call of Old North High : 

"Hip! High! Hullabaloo! 
Old North High's the school, that's true ! 
It's the best school of them all ! 
Old North High ! " 

Two of the Clifton Heights boys and girls now put on 
their skates and approached the lake. A tall youth from 
the same school stepped up with them, and called forth 
this challenge to the skaters already on the ice : 

" Clifton Heights challenges Old North to a skating 
contest. Choose your four best skaters, and the race is 
on. We are ready, are you ? " 

There was a short, quick conference on the ice. Then 
all but five of the North students came ashore. One 
skated close to the challenger from Clifton Heights. 

"Ready? Yes, Old North's ready! Bring on your 
skaters. You may be the starter." 



40 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

Then the four skaters from Clifton Heights joined 
hands and lined up beside the ones f rotn Old North. 

" One, two, three ! Ready ! Go ! " called the starter, 
and away they flew. Gracefully they swayed together. 
Their bodies moving in perfect rhythm. Both teams 
were made up of excellent skaters, used to team work. 
Faster and faster they went. They became almost specks 
in the distance as they rounded the other side of the lake. 
The yell: 

"Rah! Rah! Rah! 
For Clifton Heights I Rah ! " 

was answered by : 

"Hip! Hip! Hurrah! 
Old North School! Hurrah! HUrtah!" 

Then the yells were forgotten as they became more 
excited over the finish. The cries were now from in- 
dividuals, and each team received its share of encourage- 
ment. 

"Old North's ahead!" 

" No, Clifton is. See there! Rah for Clifton!" 

" Old North is gaining ! Hurry, Dolly, Fred, Bill, Jane, 
hurry! Catch *em. Race *em! That's it! That's it! 
They're up with them." 

*'No, Clifton's still ahead! They're turning the last 
curve. They are almost here. Oh, look out, Clifton, 
don't lose out ! Hurry ! " 

" Old North's ahead ! Old North is gaining right 
along ! Did you ever see such rhythm as that ? They're 
almost here! they're still ahead! Yes — no, — yes, yes, 
they are ! Old North has won ! Hurrah ! Now, all to- 
gether, ready, go ! " 

And as I left the park, I heard once more the yell of 
the victorious North High : 

"Hip! Hip! Hullabaloo! 
Old North High's the school, that*s true ! 
Old North High!" 



MONOLOGUES 4i 



tHE GARDENS 

(Eleven hundred words) 

Once upon a time, there lived in the "Garden of 
Tears " a wee, httle bit of a girl. She was almost as 
tiny as a fairy. In fact, seeing her sometimes dressed 
in a dear, little, fluffy, white dress, one might really take 
her for a fairy. She was so pretty, too. She had golden 
curls, and they fell around her dainty little face. On, 
she was as pretty as a little fairy. But she was not one. 
She was just a little girl about the same as other little 
girls. Oh, no, she was not quite the same as other little 
girls either. She cried too much. Sometimes her 
mother would say to her : 

"Why, Anabelle, you cry so much. I think you are 
not my little girl at all." 

" Why, Mother, you know I am your little girl even 
if I do cry. Don't I live in your house? " 

But her mother said : 

" Sometimes you do, and then you are my little girl. 
But when you are naughty and cry, why, then you are 
not my little girl, for you live in the * Garden of Tears.' " 

Now, Anabelle did not understand what her mother 
meant. She went out into her mother's pretty garden, 
and tried to think what she had meant. But she soon 
gave it up, and began to play with her dolly. 

She had pinned her dolly's dress the night before. So 
when she picked her up, the pin pricked her. It was only 
a tiny, little prick. It really did not hurt very much. 
But Anabelle did not like even a little prick. So she 
cried loud enough and long enough for a real hurt. Her 
mother did not come to comfort her. Anabelle cried so 
much, and her mother could not be running all the time. 
And this time she cried until she fell asleep. 



4.2 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

Then a dear little fairy came and touched her on the 
arm. 

" Oh, Anabelle," said the fairy, " aren't you ashamed of 
yourself? You know you did not hurt yourself very 
much. You just wanted to cry, that was all." 

" I did not ! " said Anabelle, and started to cry again. 
But when she looked up, and saw it was a fairy there by 
her, she hung her head. She was ashamed for once in 
her life. She had been rude to a fairy ! 

" Come with me, Anabelle," said the fairy. " I have 
something to show you." Then she waved her wand, and 
carried Anabelle away with her to another garden. 

This was a beautiful garden. But it seemed so sad in 
some way. The trees did not hold up their heads. They 
drooped until some of the branches almost touched the 
ground. " Why, all the trees in the garden are Weep- 
ing Willows," cried Anabelle. 

There were many flowers but they all seemed to be 
drooping, and ready to cry. 

The fairy pulled a pansy blossom and handed it to 
Anabelle. But instead of the dear little face she had 
often seen on the pansies in her mother's garden, this 
one had a wry, little, puckery face. " Why," said Ana- 
belle, " even the pansy wants to cry." 

And then they saw children playing among the trees. 
But soon they stopped playing, and some of them would 
burst into tears. Then, after a few moments they were 
all crying. 

" What are they crying about ? " asked Anabelle. 
" How foolish, when they might be playing." 

" Oh," answered the fairy, " I thought perhaps you 
could tell me why they all cry. You know them all, you 
see. You have lived here for some time. This is the 
Garden of Tears, you know." 

" Why, I do not live here," said Anabelle. " This is 
not my mother's dear garden. Oh, I know now where I 
am. I know what Mother meant now." 

" Do you think you'd like to live in this garden ? " asked 
the fairy. 

Anabelle shook her head. " No, oh, no. I do not like 



MONOLOGUES 43 

it at all, here. Please, oh, please take me home." And 
before she knew it, Anabelle had begun to ci*y. 

" Not if you cry," said the fairy. *' This must be your 
home if you do. — Oh, you have stopped, have you? 
That's good. Now you wait a moment. We are not 
ready to go home just yet." 

Once more the fairy waved her wand. And now 
Anabelle clapped her hands and danced for joy. 

" Oh, dear fairy, how grand this is. How lovely. 
Look at those trees, and those flowers ! They all seem 
so happy. The sun must always shine here in this lovely 
place. Look at those children. There is no one crying 
here. What is this place? May I live here always? 
I love it so ! " 

" This," said the fairy, " is the Garden of Smiles. 
-You may live in it if you want to. Every little girl and 
boy may live in it. It is in your own heart you find the 
flowers of happiness. And your face always shows 
bright and happy when you live in the Garden of Smiles." 

Anabelle sat up, suddenly. She rubbed her eyes sleep- 
ily. Then she looked about for the fairy. But the dear 
little fairy was gone. 

" She must have been a Dream Fairy," said Anabelle. 
" I wonder whatever made her come to me, anyway ? Oh, 
there's my dolly ! I know now. I pricked my finger and 
I cried." 

Anabelle looked for the pin-prick. It did not even 
show. For just a moment Anabelle puckered up her 
face, ready to cry. It did not hurt. But it was the 
thought. Then she remembered the puckery face of the 
little pansy the fairy had shown her. 

" Why, I almost had a face like that pansy." Then 
Anabelle laughed. " What did I ever cry over such a 
little thing for? No wonder Mother said I lived in the 
Garden of Tears. I'm ashamed of myself." 

She ran into the house and called her mother. 

" Mother, oh, Mother, I'm moving to-day." 

" Moving ? What do you mean, Anabelle ? " asked her 
mother. 

" Out of the Garden of Tears, Mother, and into the 



44 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

Garden of Smiles. I'm happy inside, so I can smile. I 
like the Garden of Smiles, Mother dearie. Can you tell 
from my face that I am moving to-day ? " 

But her mother never answered. She just went to 
Anabelle, put her arms around her and hugged her hard, 
oh, so hard ! 



THIRD PART 



DRILLS FOR CHILDREN 



TIN SOLDIER AND FRENCH DOLL DRILL 

{Six boys and six girls.) 

(The boys are dressed as tin soldiers, and carry tin 
swords, in scabbards. The girls are dressed as 
French dolls and carry small closed parasols.) 

Directions 
(r., right of stage, l., left of stage, c., center, B., 
boys. G., girls.) 

Drill 
Girls are on stage when curtain rises, standing stiffly 
erect in this position : — 



5 


6 


3 


4 


1 


2 



1. Enter b., single file. {All movements must be 
stiff and mechanical.) March around stage past dolls, 
then form straight line at back of stage. G. turn heads 
toward audience, as b. pass. 

2. Boys move to front of stage in a straight line. 

3. Salute audience r. hands. 4 counts or beats of 
music. Girls stand in position, while B. go through drill. 

4. R. face, 4 counts. 

5. Return to position, 4 counts. 

6. L. face, 4 counts. 

7. Position, 4 counts. 

8. R. about face ( Turn clear around. ) , 4 counts. 

9. L. about face, 4 counts. 

10. Take swords in r. hands, 4 counts. 

11. Touch caps with swords, 4 counts. 

12. Position, 4 counts. 

13. Forward thrust, as though fencing, 4 counts. 

14. Position, 4 counts. 

15. Same as 13 and 14, only bend knee as thrust is 
made. 

16. R. face, 4 counts. 

47 



48 RECITATION^, DRILLS AND PLAYS FOR CHILDRPI 

17. Place sword tip between shoulders of b. in front. 
First B. uses sword as in 13. 

18. Position, 4 counts. 

19. Same L. face, sword between shoulders of others; 
position. 

20. Salute with swords, 4 counts. 

21. Return swords to scabbards. 

22. L. face and march to rear, and form straight line, 
facing front. 

23. Girls' drill. G. face front, move to center, then 
to front of stage, and around to position again. 

24. B. move to side of partners, girls move again to 
c, B. move to and remain where g. have been during 
their drill. 

25. G. move around stage single file. 

26. Around stage, in two's. 
27 Down c. single file. 

28. When they reach the front of stage, i starts to 
weave back by passing between 2 and 3 ; 2 between 3 and 
4 ; and so on. 




t 



V^ ^ Movement for 2, following I. 

^^ / Others move in the same 

Movement for I order 



DRILLS 4Q 

29. Single file to front. 

30. Around single file and form straight line at rear. 

31. Down to front together, halt i 

32. Touch parasol tips above heads, 4 counts, i and 
3 ; 4 and 6 back of heads ; 5 and 2 in front, thus : 



33. Position, 4 counts. 

34. Bow to audience, 4 counts. 

35. Turn head R., 4 counts. 

36. Position, 4 counts. 

37. Turn head l., 4 counts. 

38. Position, 4 counts. 

39. Open parasols, 4 counts. 

40. Whirl to R., 4 counts. 

41. Position, 4 counts, 

42. Whirl to L., 4 counts. 

43. Position, 4 counts. 

44. Parasols before face, 4 counts. 

45. Move parasols to R., and peep from behind them 
at audience, 4 counts. 

46. Position, 4 counts. 

47. L. face and march around stage to partners. 

48. B. and G. face c. and meet in c. in four's. 

49. Halt and g. bow, while B. salute, 4 counts. 

50. Around stage in two's. 

51. Form two straight rows at rear and march for- 
ward, in two straight lines. 

52. Halt ! Bow and salute to audience, then file oflf 
single file to r. 



50 RECITATIONS, DRILLS AND PLAYS FOR CHILDRIN 



SANTA CLAUS DRILL 

(For nine small boys.) 

(Eight of the boys are dressed in Santa Claus suits. 
They carry strings of sleigh-bells. A sack of toys is 
on the back of each one, with a horn near the top of 
each sack. One boy is dressed like Jack Frost, in 
white suit, frosted with diamond dust. ) 

Directions 
R., right, h., left, c, center, s., start. F., finish. 

Drill 
Four enter r., four enter l., single file. March to rear 
of stage and move forward to c. front in two's. Thus : 




(Halt and sing the following song, using actions sug- 
gested, y 

(Tune, "Coming Through the Rye.") 

1ST Verse 
Have you seen my reindeer, laddie ? 

(Each looks at partner.) 
We can't find them now. 
(Shake heads.) 
We had put them in their stables. 



DRILLS 51 

(Lines move back to form semicircle, thus:) 

• f 



But alas ! Somehow 

They escaped. We cannot find them, 

( Wave R. hands across front. ) 
Look where'er we will, 

{Look from R. to L.) 
And we cannot go to earth 
Our mission to fulfill. 
{Put R. hand back to touch top of pack.) 

2ND Verse 

Think you how the little children 
Will feel when morrow's here, 
{Look sad, shake heads mournfully.) 
And no presents from old Santa ! 

{Drop heads.) 
They will cry we fear. 

{Lift heads, rub eyes.) 
See, we have our sleigh-bells with us, 
{During the rest of verse shake bells in time to music.) 
Ready now to go. 

Soon as some one finds our reindeer. 
And comes to tell us so. 

{When song is finished music continues to play a slow 
march. Boys may whistle instead of having other 
music, if preferred. A light springy step is used.) 

1. March to c, form two's, as before. 

2. Lines separate at c, front and move around stage 
to r. and L. 

3. Down c, single file. 



52 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

4. Serpent movement across stage, thus : 



F <- 



c 



D 



D 



5. Down c, single file. 

6. Repeat 4. 

7. Down c, in two's. 

8. Separate to r. and l. Double serpent movement, 
thus : 



F <- 



1 c 



D C 



ss 



g. Down c, in two's. 

10. Repeat 8. 

11. Down c, single file. 

12. Halt in c, first six form thus : 




>F 



D 



DRILLS 



53 



(7 halts at " x " and jumps on bent knees of 5 oHd 6. 
8 mounts on shoulders of 7 — pyramid fashion— and 
bends over in imitation of Santa descending a chim- 
ney.) 

13. Move to two's in c. 

14. Repeat 12. 

15. Down c, two's, separate r. and L. 

16. Form circles R. and l., thus: 





17. Each boy draws a horn from pack in front of 
him. Move in circles three times. 

18. Break circles, down c, two's. 

19. Separate r. and l., around stage, turn at back — 

20. And form straight lines on extreme r. and l., thus : 



21. Blow horns in unison. 



54 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

22. Enter Herald, who stands between lines in C. 




(Herald speaks.) 

Santa's reindeer now are found. He has sent me for 
you, his helpers. You are to hasten and make ready for 
your yearly visit to earth and her children. 

Herald moves to rear c. Others form semicircle, 
thus: 



H 



(All sing, using same tune.) 
Our herald now has come to us, 
Joyful news to bring. 
Now, our reindeer have been found. 
Let our voices ring. 
And we bid you now adieu 
Till again we meet 
In your homes this Christmas Eve, 
To bring you presents sweet. 
(File out single file to L.) 



FOURTH PART 



PLAYS OF VARIOUS LENGTHS FOR 
CHILDREN 



LONG AGO AND NOW 

{Three minutes) 
{For two little girls) 

(iST Little Girl, dressed like a child of the long ago, 
holds a rag-doll in her arms. 2ND Little Girl, 
dressed in modern dress, holds in her arms a fine 
new doll.) 

(iST Girl enters alone, sits on R. of stage, speaks, 
then remains seated. 2ND Girl enters, sits on l. of 
stage, speaks.) 

1ST Girl 

Now go to sleep, dolly, 

Do not have any fear. 

I will protect you, 

If Indians prowl near. 

That was not a war-whoop. 

Now, dolly, do sleep. 

What, dear? Why, surely, 

You will not weep. 

I love you, dolly, 
Yes, indeed I do, 
From your dear rag hea3 
To little rag shoe. 
Those " buttony " eyes 
Shine black as ink. 
And really, dear one, 
You are pretty, I think. 

That's right. Stop crying. 
Now listen to me, 
You be a good dolly, 
And then you will see — 
Father will bring you 

57 



58 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

A nice, cozy skin, 
To wrap you up snugly 
And keep you warm in. 
Now go to sleep, dolly. 
Do not have any fear. 
I will protect you, 
If Indians prowl near. 

2ND Girl 
Now go to sleep, dolly. 
If you'll be good, 
I'll take you out riding 
As I said I would. 
We'll go in the auto. 
Won't that be fine? 
What, dolly, you crying? 
Now, stop, baby mine. 

I love you, dolly. 
Yes, indeed I do. 
From your curly, blond head 
To little French shoe. 
Those eyelids that close. 
This lovely new dress; 
You're the prettiest dolly 
Ever was, I guess. 

That's right. Stop crying, 
And listen to me, 
You be a good dolly. 
And then you will see — 
When we are out riding 
We'll stop at the store, 
And then we'll have candy 
And ice-cream galore. 

Now go to sleep, dolly, 
If you will be good, 
I'll take you out riding. 
As I said I would. 
(Both rise, meet in c, move to front, hand in hand, 
bow to audience. Exeunt together.) 



PLAYS 59 



DOLLIES AND GIRLS 

{Four minutes) 

(A Christmas Dialogue for two small girls) 

(One girl is dressed in a dainty dress, fine slippers and 
socks, large hair-ribbon on curls. She is sitting on 
a low rocking-chair. In front of her, arranged in a 
sedate row on two chairs, are several nice dolls. 
She holds in her hand a book; she is playing school.) 

1ST Girl. Now, Mabel, Isabelle and Gwendolyn, you 
may take your turns at the blackboard. (Waits.) Did 
you hear me ? — You will not do it ? Why, Isabelle, you 
will have to be punished for such talk ! You may _sit 
here on the table by me where every one of the pupils can 
see what a bad girl you are. (Picks doll up and places 
her on the table.) Oh, you needn't cry. It will not do 
you a single bit of good. Maybe you can remember to be 
good next time. 

Now, Mabel and Gwendolyn, you must do as I said. 
(Lifts them and places them on another chair.) There, 
now, you are at the board, you may do your sums. 

(2ND Girl has slipped in as ist puts doll on table. 
She stands at back of stage and gazes wistfully at 
dolls. She is dressed in ragged clothes, her hair is 
not combed, her shoes are ragged and there are 
great holes in her stockings. She carries in her arms 
an old rag doll.) 

1ST Girl (continuing). Oh, I am tired and sleepy. 
{Yawns.) I guess I'll dismiss my school for to-day. 
Oh, I forgot to tell you, dollies, to-morrow is Christ- 
mas, and I'll have the most beautiful new dolly then you 
ever saw. (2ND Girl opens her eyes very wide and 



60 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

gradually draws closer to the other girl as she talks.) 
She will have beautiful blue eyes and real hair and she is 
to be dressed like a fairy. She will be able to walk and 
talk and cry when you wind her up and squeeze her, 
and — (Jumps up.) Oh, who are you? How did you 
get in my playroom? 

2ND Girl. My maw's doin' your maw's cleanin' for 
Christmas, and she let me come here with her. She told 
me to stay in the kitchen. Don't you tell her I came in 
here, or she'll skin me alive. I saw you through the 
door and I sneaked in to see your dolls. Say, how'd 
you know you are goin' to git such a fine new doll for 
Christmas? Who's goin' to give it to you? 

1ST Girl. My father told me to write my letter to 
Santa, and I might have anything I wanted. So I wrote 
for the doll. (Goes up to other girl.) Is that all the 
doll you've got? Why don't you write to Santa for a 
new one, too ? That doll is not a bit nice. 

2ND Girl. I know she's not as nice as one of yours, 
but she is all I have, and I love her just the same. Say, 
I'd like to hold one of them of yours. You hold mine 
and let me hold yours. 

1ST Girl {drawing hack). Ugh! Not She's too 
dirty. Don't you ever wash her clothes ? 

2ND Girl. Naw, I can't, and maw, she don't have no 
time. {Wistfully.) I wish I had a Santa like yours. 
Maw she said 'twouldn't do no good for me to want any- 
thing this year, 'cause these were hard times with us and 
my Santa Claus was poor. What'd you reckon she 
meant? Wish I had a doll like one of yours. {Begins 
to cry.) Wish I had, I do. 

1ST Girl. Say, do you really suppose Santa will not 
bring you a doll ? Do you really suppose he will -not ? 

2ND Girl I know he won't, 'cause my maw she said 
so. {Cries very loud.) 

1ST Girl {shaking her head sadly). There, don't cry. 
I wish I could help you, but I do not see how I can. 
(2ND Girl still cries.) Oh, maybe I can help you, too. 
{Picks up one of her nicest dolls, studies a moment, then 
laughs happily. ) Look here, little girl, you can have this 



PLAYS 6 I 

dolly of mine, for your very own. You won't even have 
to wait till to-night for Santa to bring it to you. 

2ND Girl {stops crying, starts to take doll, then draws 
back and shakes head). I'd like to have it, but your 
maw would never let you give it to me. She'd never 
'low you to do that. 

1ST Girl. My mother will be glad to let me; I just 
know she will. She's the darlingest mother ever was, I 
know. 

2ND Girl. No — she wouldn't. Wouldn't no maw 
ever '^low you to do that. And then my maw, she'd whale 
me if I took it without your maw said I could have it. 
I don't want no whalin', I don't. 

1ST Girl. You wait and I'll ask my mother. You 
just stay here. (Runs from stage, calling, "Mother, 
Mother! " While she is gone 2nd Girl looks about, then 
walks around touching things lightly and whistling softly 
as if she had never seen such nice things. She goes over 
to the dolls and looks from *hem to her own doll, but 
does not attempt to pick one up.) 

(1ST Girl enters.) 

1ST Girl. Oh, little girl. Mother says you can have 
her, and that you are to have some candy, too, before you 
go home. Isn't that fun ! But you'll be good to the 
dolly, won't you ? Here she is, take her. 

2ND Girl. Oh, how I will love her, and I'm going to 
learn to wash so I can keep her clean my own self. 
Thanks, I hope you'll get your new dolly. 

1ST Girl. Oh, I will, I know. You come and see her 
after Christmas, won't you? 

2ND Girl {nods her head, she hugs her new doll close 
to her, says " Good-bye,'* and kisses her new doll, then 
goes off carrying a doll under each arm.) 

1ST Girl. Merry Christmas. Good-bye. Now I 
know I'll love my new dolly all the more to know that 
that little girl has a nice dolly, too. — ^Yes, Mother, I'm 
coming. 



62 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 



MEN AND WOMEN OF AMERICA 

(Five minutes) 

{For one boy and two girls, 12 to 14 years of age. ) 

{Boy, dressed as Uncle Sam, enters, salutes audience 
and begins to speak.) 

Boy. 

I'm Uncle Sam, as you can see. 

I stand for our countr>-, true, 

The symbol of freedom, right and trust 

To be found 'neath our red, white and blue. 

I stand for our nation's manhood, too. 

No finer on earth may be found ; 

We are ready for peace, and we long for peace. 

But peace only with honor, Vm bound. 

To the strength of our manhood's valor 

We pin our faith this day. 

Our country is safe from oppression's rule 

When freedom and right hold sway. 

We are proud of the men of America, 

Proud of their strength and skill. 

Proud of their standing for brotherhood, 

Of their loyalty, power and will. 

(Enter Girl, dressed as Columbia. She moves to 
center R. Uncle Sam steps a little to l. Girl ad- 
dresses audience first.) 

Columbia. 

I am Columbia, noble and just, 
I stand for our liberty, 
For justice and truth and valor. 
For peace and humility. 



PLAYS 63 

I Stand for America's womanhood, too, 
So great, so pure, so true. 
Were the women left out of our country. 
Oh, whatever would it do ? 

(Turns to Uncle Sam.) 
You stand for our manhood's valor. 
And I for our womenkind, 
You're brave and courageous and loyal. 
And so are your women you'll find ! 
We now have rights of citizenship; 
Equal with you we stand. 
And we'll join in your every endeavor. 
We'll go with you hand in hand. 



Uncle Sam. 

Oh, it's well for the women to help us, 
But the men do most of it though. 
Why, what did you do when the war was on 
To crush tyranny with your blow? 

Columbia (indignantly). 

What did we do when the war was on ? 
Just ask the world, I pray! 
We helped just as much as you men-folks did, 
We worked with you day by day. 

(Uncle Sam turns his back on her.) 
Our women were close to the battle-front. 
They knew the screech of a shell. 
But they swerved not from their duty. 
And that you know full well ! 
(Turns her back on Uncle Sam, scornfully.) 



(2ND Girl enters. She is dressed in white, and wears 
a shield with the word Liberty printed on it. She 
carries a large flag. Stepping to center, she looks 
first at Uncle Sam and then at Columbia and then 
back to Uncle Sam. She looks bewildered.) 



64 recitations, drills and plays for children 

Liberty. 

Dear Uncle Sam and Columbia, too, 

Why do you stand like this ? 

I am surprised at you, bold Uncle Sam, 

And also at you, my Miss. 

We stand for liberty, and peace. 

May peace be with us alway — 

But how can it, if harmony 

Is not among our own to-day? 

Uncle Sam, I know you are loyal 

And good and brave and true. 

(Uncle Sam Hirns and faces her.) 

We know that we owe so much we have 

To our country's manhood — to you. 

And as for you, dear Columbia, 

We well know what you can do. 

We know our country could not exist 

Without her womanhood, too. 

(Columbia smiles and turns around.) 

Now, Uncle Sam and Columbia, 

Such things we cannot stand, 

As discord and strife in our ranks to-day, 

We're bound by too strong a band. 

We're bound by the- ties of liberty, 

Of justice, right and truth, 

And we need all our men and our women, 

Our old age as well as our youth. 

Join hands now in mighty union. 

You men and women of our land, 
{They join hands while Liberty waves flag over them.) 

For when we unite our efforts, 

We form an invincible band. 

All hail now to America's strength, 

Her noble protectors true. 

For each one of us is needed. 

To protect the red, white and blue. 

CURTAIN 



PLAYS 6S 



FOR OTHERS 

(Four minutes) 

(Dialogue for two little girls. Appropriate for a Mis- 
sionary Society.) 

(Girls enter carrying dolls in arms. They sit in chairs 
at R. and l.) 

Madge. You know, Jane, I think I have the prettiest 
dolly in all the world. How do you like this new dress 
on her? (Holds up doll.) 

Jane. Oh, I think it is lovely. But I think I have a 
pretty doll, too. And I have made her a new cap. How 
do you like it? (Holds up her doll.) 

Madge. It is lovely. I wish I had one just like it. 
Oh, I know what I can do ! My uncle gave me one dol- 
lar yesterday, and told me to use it for anything I thought 
would make me happy. And so I am going to get my 
doll a cap just like yours. 

Jane. Yes, do! And I will help you make it. My 
father gave me fifty cents this morning to buy me some- 
thing I want. I think I'll buy candy. I never get 
enough of that. I'll give you some of it. 

Madge. That will be fine! I think we are lucky to 
have nice things like we have. I saw Margaret Ellis the 
other day, and she had her doll, and it was all ragged, 
and 

Jane. Yes, I sav/ her, too. I thought she would have 
been ashamed to carry around such a doll as that. I 
would, wouldn't you? 

Madge. I used to think I would. But when I told 
Mother about it, she said that I should not say such 
things. That Margaret Ellis was a very poor little girl, 
and that we should never make fun of others who have 
less than we have. 



6h RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

Jane. Oh, Madge, I never thought of that. All I 
thought of was that her doll was ragged and old. I'm 
sorry now. And, Madge, have you noticed her dresses? 
They are as old and worn as her doll's. 

Madge. Oh, yes, I have. And when Mother told me 
about why she had to dress so, I felt so ashamed and 
sorry I had laughed at her doll. They are very, very 
poor. 

Jane. Tell me about them, Madge. I'd like to know. 

Madge. Do you know where they live? 

Jane. Yes. In a little tumble-down cottage way out 
on Grace Street. 

Madge. Yes, that's it. And there is such a big fam- 
ily of them, all crowded into that little house. Their 
father's been sick and they haven't hardly anything at 
all. And Mother says that sometimes they do not even 
have enough to eat. 

Jane. Oh, Madge, really? 

Madge. Yes, isn't it dreadful? And Mother says 
there are lots and lots of little children just like that all 
over the world. In China and India, sometimes, they 
have famines, and little children starve to death. 

Jane. Oh, Madge, I wish I could help them some 
way, don't you? 

Madge. Indeed I do. I wonder if there is any way 
little girls can help ? 

Jane (thinking). I do wonder if there is. Can't you 
think of a way, Madge? 

Madge (jumps up and claps hands). Yes, of course 
there is a way. Mrs. Black told me there were some 
little girls in our church who belonged to a society 
called — oh, what kind of a society was it anyway? 

Jane (jumping up too). Oh, I know! It is a mis- 
sionary society. But I didn't know it really helped to 
keep poor little girls from starving. Little girls like 
Margaret Ellis, you know. 

Madge. Mrs. Black says they do. And I am going 
to join this society and help do my part. They tell the 
heathen children about the church and about Jesus, too. 
Let's both join, Jane. 



PLAYS 67 

Jane. Yes, let's. And I am going to give my fifty 
cents. I don't need candy like they do food. 

Madge. And I can give my dollar. That would make 
me happier than to buy a doll cap. For I don't need the 
cap anyway. My doll can wear her old one. But come, 
are you and your doll ready to go? 

Jane. Yes, we are all ready. 

Madge. Well, then we will go and tell our mothers we 
are going to join the mis-mis-mis 

Jane (laughing) . Oh, Madge, you never can remem- 
ber that word. The missionary society. 

Madge. Thanks. That's it. The missionary society. 
Come on. 

Jane. All right. Let's hurry up. {Exeimt arm in 
arm.) 



^8 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 



" LAUGH AND THE WORLD LAUGHS WITB 
YOU " 

Three small girls. 
Time: Five minutes. 

Scene: A city park. 

(iST Girl enters r., laughing. She is dressed in a 
play-dress and is dragging a little toy dog after her. 
Goes to c, picks up dog and speaks.) 

1ST Girl. 

You're the dearest doggie ever, 

Yes, you are. 

I love you better than any live one, 

Yes, by far. 

You cannot bark — bow-wow — I know, 

What care I ? 

If you cannot bark, my doggie, neither 

Can you cry. (Whines.) 

Oh, Fm very happy, doggie (Laughs.), 

Indeed I am. 

Come along, we must be going. 

Careful, Sam! 

(Places dog on floor and starts l., meets 2ND Girl, 
who is dressed much like the first, and is carrying 
a rag doll. ) 

2ND Girl. 

Oh, Mabel, how are you, my dear? 
And how's your dog to-day? 
I'm very glad I met you here 
As you went upon your way. 



69 



iST Girl. 

Yes, Vm glad to have met you, too, 

Of course I am. (Picks up dog again.) 

Don't you bark so at that dolly, 

Naughty Sam! (Barks.) 

You aren't very nice now, are you ? 

You be good. (Slaps dog.) 

I'd hate to have to slap again, 

Indeed I would ! (To 2nd Girl.) 

You have such a nice new dolly. 

She's a dear. 

Oh, no, he won't bite your dolly, 

Never fear. 

2ND Girl. 

Yes, I love her very much. 

She is so good to me. 

And I do not care one bit because 

She is not a raging beauty. 

At first I cried 'cause she was rag. 

When I wanted a nice one so ! 

But I quit crying when Mother told me 

It was better to laugh, you know. 

1ST Girl. 

What did she say about laughing? 

I'd like to know. 

I can laugh. I try to. But sometimes it's 

Hard, you know. 

2ND Girl. 

Why, she said that when I laughed. 
The other girls would laugh, too. 
And she said that if I cried 
They wouldn't like me though. 
For that the ones who liked to laugh 
Made more friends every day; 
But no one liked the ones who cried, 
So crying didn't pay. 



yO RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

1ST Girl. 

I like that kind of talk, I'm sure. 
Indeed I do. 

Come, let us walk. You are a happy girl, 
I like you! 

{They exeunt l. as 3RD Girl enters r. She is dressed 
in a party frock, and is pushing a doll's go-cart, with 
a lovely doll in it. She stubs her toe and nearly 
falls, begins to cry, and throws herself on floor.) 

310) Girl. 

I hate every one of them, I do. 

Nurse, she's mean to me. 

Made me dress in my best clothes, 

And go to that old party. 

What do I care for parties? 

I don't want to go. 

And I won't. I'll show them 

That they can't boss me so. (Cries angrily.) 

1ST Girl (entering l. with 2nd Girl). 
Yes, it's to be a big party, 
Lots of fun. 

Sometimes I wish that I could go, 
Just to one. (Wistfully.) 
But I'm just not a-going to cry. 
Not a bit ! 

For what good would crying do me? 
Not a whit! (Laughs.) 

2ND Girl. 

No, it would not help a little, 

Little, tiny, tiny bit. 

If we'd cry they wouldn't 

Invite us to it. 

Guess we haven't got the dresses 

That it takes to go. 

But some way I don't care so much, 

Since I met you though. 



1ST Girl (starting forward) . 

Why, what's the matter here? 
Why, my dear. 

Whatever could have happened to 
Cause that tear? 

3RD Girl (jerking away). 

Let me alone. You cannot help. 
And I don't want you here with me. 
I'm crying because I don't want to go 
To that old mean party. (Cries louder.) 

2ND Girl (looks at her with disgust). 

Come on, let's go away from her, 
A touch-me-not is she. 
It's just as Mother said about the crying. 
Come on, and let her be. 

1ST Girl. 

Oh, no, that would not be right at all. 
So I'll stay. 

And see if I can't help her a little 
In some way. 

Listen, little girl, and I'll tell you a joke; 
Listen to me. 

You are crying because you must go 
To that party. 

(3RD Girl looks up hut keeps on crying.) 
And this little girl and I would 
Like to go 

To a party very much. But we 
Aren't crying though. 
We just laugh, and play with her doll — 
See, it's rag, — 

And my puppy — it isn't real — but we 
All play tag. 

And we forget about the party where 
We couldn't go. 

And we laugh instead of crying. 
It's better so. 



72 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

3RD Girl (interested). 

Oh, don't you ever cry ? 

(iST Girl makes her dog hark at 2ND Girl's doll. 
3RD Girl laughs.) 

2ND Girl {as she and isT Girl help 3RD Girl up and 
straighten her dress). 

My, what a pretty, pretty dress. 
You ought to laugh, you see. 
How could you ever cry like that 
In all this finery? 

3RD Girl. 

I do feel better, thank you. 
I didn't want to go, 
. But they made me. I must hustle 
Or I will be late though. {Laughs.) 
That's a funny little doggie. 
And you're funny girlies, too. 
'Cause you laugh instead of crying. 
Guess I'll try to be like you. 
{Claps her hands.) 
Oh, I know what we will do. 
I'll have a little party. 
You bring that doggie and that dolly, 
To-morrow afternoon at three. 
To my house and we'll all play 
And be happy. Come, won't you? 
Nurse won't care. And Mother 
Will be glad to help me, too. 
Oh, I'm so glad I met you girls. 
I'll laugh now instead of cry. 
Don't forget to come to-morrow. 

{Pats dog and laughs.) 
Dear little girls, good-bye. [Exit, L. 

1ST Girl. 

Oh, I'm glad she is so happy, 
Aren't you? 

And we are going to a party 
Just we two. {Claps hands.) 



PLAYS 73 

2ND Girl. 

Oh, I'm glad my mother taught me 

It's better to laugh than to cry. 

'Cause laughing made her ask us to her house. 

See you to-morrow, then. Good-bye ! 

{One goes r., one l. At entrance they turn and throw 
kisses at each other, then run off.) 



CURTAIN 



74 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 



REAL AMERICANS ALL 

{Thirty minutes.) 

(A play for Eighth Grade children. Five scenes. 
Twenty-nine or more children.) 

SCENE I 
The Pilgrims 

SCENE. — An indoor cabin. Crude furniture. An old 
gun standing at r., another on wall. 

(The characters are Pilgrim Father, Pilgrim 
Mother, Girl, Boy, and Indian; all are in cos- 
tumes of this period of history. The Mother is 
seated on r. spinning or knitting. Girl and Boy on 
L. The Girl is playing with rag doll; Boy whit- 
tling. ) 

Mother. 

What are you doing, children? 

YouVe been quiet there so long. (Looks L.) 

Ah, you are just playing. 

I wish Father would come along. 

Run to the doorway, children, 

And see if he's hereabout. 

I'm always afraid for your father 

Since there are Indians close about. 

Boy. 

Why, Mother, you know the Indians 
Never quarrel with us, nor fuss, 
It does not seem right to fear them. 
Doesn't God take care of us? 



PLAYS 75 

Mother. 

Yes, son, but Indians are cruel. 
And they might at any time. 
Come to our cabin in anger. 
So I fear them, children mine. 

Girl {at door). 

Oh, Mother, I see some one, 
Hiding behind that tree. 
Come here quick. For, Mother, 
I want you and John to see. 

(Mother and Boy run to door.) 

Mother. 

Yes, it must be an Indian. 

And he doesn't act just right. 

He doesn't come up hke they usually do. 

But sneaks like a thief in the night. 
Girl. 

Oh, Mother, he saw us, I know it. 

But now he's gone away. 

Perhaps he's gone on home again, 

And he won't come here to-day. 

Gone? No, there he is coming, 
I think he acts sneaking, too. 
Oh, Mother, if he's on the war-path, 
Whatever will we do? 

Mother. 

Stand there by that gun, Johnnie dear. 
Baby, hide behind that chair, 
For they are very dangerous when 
They their war-paint wear. 

{Enter Indian, war-paint on. He scowls, then stands 
zmth arms folded.) 

Mother {not betraying fright). What can I do for 
you? (Indian remains motionless.) Are you hungry? 
Here is bread to eat. {Cuts a loaf in half.) Help your- 



BOY. 



76 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

self. You are welcome. (Indian snatches a half -loaf ^ 
eats ravenously. Mother brings him an old gourd filled 
with water.) Drink! 

Indian {ceases to scowl, snatches dipper and drinks. 
He rubs his stomach in a satisfied way, then grunts.) 
Heap good! More! {Snatches other half of loaf of 
bread, rushes out.) 
Mother. 

Oh, children, come and help me. 

We must fasten the door tight. 

He might come back with others, 

And it will soon be night. 

Girl (running up to Mother and catching her skitis). 
Oh, Mother, where is Father? 
Why doesn't he come soon? 
Oh, do you think they've killed him? 
He said he'd come at noon. (Cries.) 

Mother. There, dear, there. Don't cry. Mother's 
girl. It will be all right. 
Boy. 

Why, Sister, quit that crying. 

God will take care of you. 

Mother has much to worry her. 

Please be a good girl, do ! 

(War-whoop sounds far off. A shot, then another. 
Mother bends head, and clasps hands in prayer; 
Boy picks up gun; Mother takes down other gun. 
Girl hides behind chair; there is a knock on door.) 

Father. Open the door. It is I, Thomas. It is I, 
your father, children. Open the door. 

(They put guns down and joyfully open door. The 
Father enters, kisses wife, pats Boy on head, sits 
down with Girl on his knee.) 

Girl. Oh, Father, we are glad to have you back. We 
were so afraid of the Indians. Please don't go away 
again. Father. 



PLAYS 77 

Boy. Father, what was the noise? We heard the 
shots and the war-whoop. Was there a real fight? 

(The Boy stands by his mother, who has seated her- 
self.) 

Father. 

We had just finished our hunting trip. 

And were nearing home again, 

We had hoped to be here much sooner, 

But we couldn't get here. Then, 

We had seen some signs of Indians, — 

Out on the war-path, too — 

Then I longed for home, and wanted 

Very much to get back to you. 

We had to come so slowly, 

And as we came nearer home, you know, 

We saw fresh signs of the Indians, 

It was plain to us then, though. 

Which way the band was headed; 

We knew they were headed here. 

Towards our own little village. 

And our hearts turned sick with fear. 

But we had the strength of many 

Given to us right then. 

And we circled around them, just as some scout 

Returned to report to them, 

That the village was without protection, 

That we men were all away. 

Just then their war-whoop sounded — 

But they found us in their way. 

We were between them and the village. 

And they did not try to pass. When 

They heard our guns belch thunder, 

They had enough of it then. 

They took to the woods and were gone. 

Thank God we reached home to-day. 

And we are all safe, my loved ones. 

Come, children, let us pray. 

{All kneel as curtain closes.) 



78 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

SCENE II 
Colonial Days 

SCENE. — A candle-lighted room. Old furniture. Every- 
thing stiff and prim. 

(The characters are two small Girls, one large Boy 
as Father, one large girl as Mother. One negro 
girl as servant. The costumes are of this period.) . 

Mother (alone, patching). Oh, that this cruel op- 
pression would cease. 

King George is so veiy unkind. 

He has done so much to trample us down. 

But he cannot keep us there, he will find. 

He placed a tax on so many things. 

And made them far too high. 

He lost in that attempt to rob us. 

He will lose in other things by and by. 

(Enter Girls.) 

1ST Girl. Mother, isn't it late for tea? 

2ND Girl. It surely must be, Mother dearie. For I'm 
hungry as can be. And you have the candles, Mother. 

Mother. Yes, dears, it is long past time. But as 
your father has not come yet, we will just go ahead and 
have it served. Call Mary, please. 

1ST Girl (running to door). Mary, oh Mary, Mother 
says to serve tea, now. 

(Enter servant, with tray. Sandwiches, cakes and 
so on.) 

1ST Girl. Mother, why do we still say "tea" when 
we cannot have tea anv more ? 

2ND Girl. I'll bet King George has his tea all right. 
I hate him, I do. 



PLAYS ^9 

Mother. Hush, dearie. You must not speak like 
that. I am in hopes we will have better times again 
some day soon. 

2ND Girl. Please tell us about that Tea Party at 
Boston again, Mother. 

Mother. All right. You may go, Mary. ( The 
children eat a sandwich, as Mother talks.) I want you 
girls to learn this story by heart. 

King George of England, as you know. 

Rules these Colonies, too. 

But he is not kind to his subjects here. 

And we are tired of it, that's true. 

He will not have in Parliament 

Men from our own shore. 

But he cannot tax us enough it seems. 

So he's always asking more. 

Our men have decided once and for all. 

That that would just slaveiy be ; 

That taxation, without representation. 

Is only tyranny. 

So when that ship arrived with tea 

They wanted that tea very much, 

But they wanted more to be a free people 

And that tea they would not touch. 

So as Indians they went to the shore. 

And climbed aboard that boat, 

And emptied the tea into the harbor — 

All of it was set afloat. 

1ST Girl. Well, Mother, I cannot say I exactly un- 
derstand what it all means, but I don't want any of his 
old tea now, anyway. 

2ND Girl. Neither do I. Oh, I hear Father coming. 

(Both run to door and take his hand as he enters.) 

Father. I am glad you did not wait lunch. 
Mother. You were so late and the girls were hungry, 
so I had it served. I will have sonie more brought in. 



80 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

Father. No, dear, there is plenty here for me. I am 
not hungry. Children, run out and play. I want to talk 
to your mother. [Girls exeunt. 

Martha, there have many things 

Been happening, as you know. 

Since the Boston massacre 

Nearly five years ago. 

We have been crushed and beaten down ; 

Our Colonies are not free ; 

And we have found we can no longer 

Stand England's tyranny. 

So at last the hour has sounded 

For us to act — ^not talk, — 

And we will fight to the bitter end. 

We will not be the mock 

And fun of other nations, 

But we will be free men. 

We'll stand; we'll fight till freedom 

Shines from the sky again. 

(Straps on a sword, takes it from scabbard, raises it 
in salute. The children enter and stand R. and L. 
Negro enters and stands with bowed head.) 

Mother. 

Oh, Father, how I dread it, 
War is so cruel to all. 
It means that each must suffer. 
But if there has come a call 
For men to fight for freedom, 
The women and children, too. 
Must do their part as bravely. 
So we will stand with you. 

Father (who has sheathed sword, now puts his arm 
around Mother. Children stand r. and l. of them), 
ril fight with the men in the battles, 
And will hear the cannon's roar. 
But, for you, my loved ones, I dread the war, 
For you, I dread it more. 



8i 



But the God who rules above us, 
Will guard and keep you, I know, 
While I am away in the fighting, 
So I am willing to go. 
For God is with the cause of Right. 
Hell help us victory to win, 
And bring us a happy country 
From out the battles' din. 

Mother. 

We'll pray for you, won't we, children? 

{They nod.) 
When you are far away. 
And God will keep you safe and well. 
And bring you back some day. 

Negro {stepping forward). 

And 'deed and I'll pray, too, Marster, 
God'll hear eben me. 
Come back soon and tell we-alls 
Dat dese Colonies am free! 

CURTAIN 



SCENE III 

{Negro Scene, Civil War Period.) 

SCENE. — A cotton field: easily arranged by nailing 
small dry branches of trees to strips of board, and to 
the branches tying bits of cotton. These boards are 
placed in rows; about three or four will be enough. 
The characters are four negroes — two girls, two boys — 
picking cotton. One small negro boy, one small negro 
girl are playing in front. The costumes are those used 
before the war. 

{As the curtain rises the four large ones sing " Swanee 
River," while they work. When last verse is sung 
they leave their work and move to front of stage. 



82 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

swinging and swaying to music. As an encore, one 
verse of " Dixie '* may be sung. Children in front 
begin to quarrel,) 

Boy (giving girl shove). You gwan 'way and gib me 
dat doll. 

Girl. You gib me back dat doll. Hit's mine, I tells 
you. You heah me! 

Boy (tearing doll apart). Huh! Tain't nuffin' but 
an ole co'n-silk doll, no-how. 

Girl (crying). Mammy, you come back heah ! You 
come heah. 

(Mammy catches boy, who has run to R. Others look 
on, and laugh.) 

Negro (who is watching at L. during the above), 
Oberseer's comin'. Come on, he's purt nigh done heah. 

(All rush back to work.) 

Voice (off stage). What do you mean, you fool 
niggers? (Cracks a whip.) Any more fooling round 
here and some nigger's going to feel this whip. 

(All glance fearfully off l., then fall to picking.) 
CURTAIN 



SCENE' IV 
(Civil War Period, continued) 

SCENE. — A sitting-room. Northern home at the close 
of the .war. The characters are a Northern girl and 
boy. Southern girl, negro girl. The costumes are of 
the Civil War period. 

(Two Girls are sitting in the room, sewing. Enter 
Boy, limping and carrying his arm in a sling.) 

Maude. Oh, Harold, you should not play you are a 



?LAYS 83 

wounded soldier. If you had been just a few years 
older, you might have been in this dreadful war, and 
really been wounded. 

Boy. Oh, I wish I had been big enough to have passed 
in. You bet I'd have gone. Clarence was only four 
years older and he got to go. Wish I was big as he was. 

Maude. Mother and I are very thankful you were 
not. You see we just have to have one man around the 
house. Take off that sling, Harold, please do. It gives 
me the creeps. 

Harold. All right then, here she comes off. I 
wouldn't bother you for the world, Maude. (Pulls off 
sling, drops limp, runs across to Girl at R.) Hello, 
Sarah, and how's the little rebel to-day ? 

Sarah. Please, do not call me such names, Harold. 
And, anyway, you know I would rather be a rebel than 
to have to mind old Abe Lincoln like you No'therners 
have to do, so there! (Stamps foot.) 

Maude (coming across room). Now don't tease 
Sarah any more, Harold. When Uncle Fred sent her 
North to us to keep her safely out of the war zone, we 
promised Father we'd be good to her. We have learned 
to love each other in spite of the fact that we do not 
agree about the North and the South, nor about Generals 
Grant and Lee. Do we not love each other, cousin? I 
can love her and love the Stars and Stripes at the same 
time. (Waves a little flag.) 

Sarah (pulling a small Confederate flag from her 
belt). And even though I am very loyal to the Stars 
and Bars of my dear old Southland, I can forget that you 
are a part of the hated North, for I love you, dear 
cousin. (Puts arm around Maude.) 

Harold. Forgive me, Sarah. I 

ToPSY (rushing in and throwing herself at Sarah's 
feet). Good land. Miss Sarah, honey, Ah's free. Ah is. 
Dey's a man out on de po'ch, and he jes' done tole me so. 

(She struts around. Harold rushes off R.) 

Sarah (haughtily). What are you trying to tell, 
Topsy ? 



84 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

TopsY (paying no attention, starts to sing and dance 
to a negro melody). Ah's done free, Ah's done free. 

Sarah (excited). What do you mean, Topsy? Stop 
that dancing and tell me at once. 

Harold (enters from r.). Girls, the war is over. 
The news has just come and Major Harkness came to 
tell us. Lee has surrendered to Grant. Hurrah ! 

(Grabs a large flag from stand and waves it.) 

Topsy. Dat's jest what Ah's done tryin' fo* ter tell 
you all. Ah's free. Whoopee ! 

Sarah (sinks into chair at r., tucks flag of Stars and 
Bars in belt). Oh, we've lost. We've lost. Poor 
Father. (Cries.) Even Topsy has deserted me! 

Topsy. Lawdy, Miss Sarah, Ah's a free nigger, but 
Ah's yourn jest de same. You ain't gwine ter send me 
away from you, is yer? Miss Sarah, honey. Ah jest 
couldn^t lib widout you noway. 

(Bursts into loud weeping and kneels by Sarah.) 

Sarah. No, Topsy, you may live with me always and 
always. I couldn't do without you either. And when 
Father comes for me, you can go with us. 

(Topsy rises and goes to r. Maude and Harold go 
to Sarah.) 

Maude. Don't cry, dear, we love you just the same 
as ever. And now this old war is over and we will not 
have to quarrel about it again. And our fathers will 
come home and we will be so much happier. 

Harold (coming up behind the girls and holding large 
flag over their heads). And now we have the same flag 
once more. The two flags will be blended into one again. 
Oh, I'm glad, glad! Girls, take your flags out — both of 
them. Now stand up here. (Girls obey.) Now cross 
those flags above your heads. See how they blend into 
this one? 

Sarah (brightening). Oh, I hate to lose, but since 
it is all over, I will be a good loser. No daughter of the 



PLAYS 85 

Southland is a coward. And only a coward would fail 
to bow to fate. I'm glad the horrible fighting is over. 
And I think in time we'll all learn to be happy again un- 
der the old banner. 
All. Indeed we will. 

TABLEAU AND CURTAIN 



SCENE V 
{World War Period) 

SCENE. — Junior Red Cross Headquarters. Girls about 
stage, sewing, or knitting. Boy Scout is packing a 
box. The characters are three Junior Red Cross 
Workers, one Boy Scout, one Soldier, one Red 
Cross Nurse, one Salvation Army Girl, one Y. W. C. A. 
Girl. Peace. 

1ST Girl. Oh, I do not see why I could not have been 
just a few years older. I don't like to sit here sewing 
old bandages when I might have been in France, helping 
to bind up some soldier's wounds with them, instead. Td 
like to be a nurse, I would. 

2ND Girl. Oh, I'd like to go overseas, too. I think 
it's too tame for anything to sit here and knit, and knit, 
and never get to do anything really worth while. 

Boy Scout {glancing up from his packing). Oh, I 
say, you girls shouldn't fuss. Women don't do much in 
war anyway. But it's downright hard to be a boy and 
too young to go. I'd surely like a shot at an old Hun, 
I surely would. 

3RD Girl. Oh, you needn't talk. Women and girls 
are doing a lot in this war. What would the men do 
without all these bandages, and socks, and sweaters, and 
all these things, I'd like to know. And sometimes I 
think we help even more than we know. 

Salvation Army Lassie {entering). Good-morning, 



86 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

all of you. How well you are all looking. And you are 
doing such nice work here, too. {Examines work of 
several.) I think the Junior Red Cross is doing a won- 
derful work. You are a big help to our soldier boys. 

All. Thanks. 

1ST Girl. Yes, but you get to go across the water to 
help, don't you? I think you are lucky. You can help 
so much more than we can. 

Salvation Army Lassie. Yes, I expect to go to help 
if they send for me before the war is over. But do not 
think you are not helping. You are, eveiy one of you. 
You, too, little Boy Scout. 

Y. W. C. A. Girl {enters while she is speaking). Well, 
I think you are helping out. Do not think because you 
are not doing the big things that you are doing nothing. 
You are doing very good work here, I see. 

{She examines some of the work, then sits dozmi and 
begins to write.) 

Red Cross Nurse {entering). Good-morning, all. 
Here I find that my busy little bees are at work before 
me. My, what a help to Uncle Sam are his girls and 
boys. 

(She sits at a desk and sorts socks, sweaters, etc.) 

Soldier {enters and salutes). Busy again, all of you. 
Good for you. When I get to France I want to think 
you are here at home backing me up. 

2ND Girl {rising and going over to him). Oh, Fred, 
it seems so good to have you home from camp. 

3RD Girl {glancing up). Yes, it certainly does. How 
long a leave do you have ? 

Soldier. Only another day. We are to leave for the 
thick of it, soon, I think. 

(Bells ring; auto horns toot; great commotion outside.) 

All {jumping up). What is it? 

Y. W. C. A. Girl {looking out). There is such a 
crowd gathering. What can it be, do you suppose ? 



PLAYS 87 

Peace (a tall girl, dressed in loose, floating, white robe, 
enters. She carries a banner with " Peace " printed 
upon it). I bring to you the joyful news that you are to 
have peace once again. The armistice has been signed, 
and that is what the people are celebrating. All this 
work is not needed now, and we hope that such things 
will never be needed again. Oh, that there might be no 
more war. That peace might reign forever upon this 
earth. For after all, peace is the most wonderful thing 
upon earth. You may all stop your work and join the 
whole country in celebrating this glorious event. 

(Peace has been standing in c. at rear. Soldier seises 
flag and stands beside her. Others group in semi- 
circle on either side of them. All sing a National 
Air as the curtain falls.) 



CURTAIN 



88 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

THE UNINVITED GUEST 

(Twenty minutes) 

(A one-act play for children. Twelve or more 
children in cast.) 

CAST OF CHARACTERS 

Frederick the small host 

Madge his older sister 

Mrs. Burton their mother 

Grace a guest, who recites well 

Florence a guest 

Clara guest 

James guest 

Harry guest 

Victor guest 

Samuel small colored waiter 

LiLLiE small colored waitress 

Louise the uninvited guest 

(These are all the speaking parts. If you care to use 
more children they may fill in as guests, provided an 
even number of boys and girls is used. ) 

Costumes 

Frederick and Madge, best party clothes. 

Mrs. Burton, dressed as a middle-aged woman, nice 
clothes. 

Guests, party dresses and suits. 

Samuel, dark suit, flashy red tie. 

LiLLiE, dark dress, white cap and apron. 

Louise, ragged dress and shoes, large patches on front 
and back of dress ; she shows poverty, but is clean and her 
hair is neatly combed but tied with a piece of shoe-string. 

SCENE. — A pretty garden scene, arranged for a chil- 
dren's party, Japanese lanterns may be used, or flags 



PLAYS 89 

and bunting. There are chairs arranged about the 
stage. Three on r. front and three opposite on l. A 
tree or very large palm at rear on r. Small table at 
rear on l. 

{As curtain goes up, Madge skips in, Lillie and 

Samuel following her.) 

Madge {dancing about stage, and looking all around 
as she does so. Straightens out a chair here and there, 
then speaks), Lillie and Sam, have you everything ready 
to serve? 

Lillie. Yes'm, eberthing done ready. 

Sam. Deed an' dey is ready, Missie. {Rolls eyes sol- 
emnly as he assumes a dignified attitude, hands crossed 
in front of body.) Deed and double dey is ready. 

Madge. Oh, Sam, please behave yourself. If you do 
not, I will get the regular help to do this, yet. This is 
my first time to manage a party all by myself. And I 
thought rd like to have you and Lillie help me. But if 
you can't behave, I'll just tell Mother I must have James 
to serve. 

Sam. I'll be good. We-alls can manage dis party 
jest as well as any ob dem grown-ups can. 

Madge. All right then, Sam, you and Lillie will have 
to try your best. I do not want to have to call on 
Mother for help at all if I can do without it. Sam, you 
are to stand right back of Frederick, and if he receives 
gifts you are to take them and lay them on that table 
over there, understand? 

Sam. Deed an' I does. How old am Marse Fred- 
erick, anyway? 

Madge. Why, Sam, you ought to know. How many 
candles on the cake? 

Sam. Deed an' I jest forgot to count dem candles. 

Lillie. Forget, nuffin', he cain't count, dat's what 
ails him. Dey's twelve, Sam, dey's twelve. He am 
twelve years old. Think you can 'member dat? 

Sam. Yes, 'course I can. I knew it all eriong. I 
jest wanted to find out if you knowed. (Laughs, and so 



90 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

do Madge and Lillie.) Guesses I'll hab one ob dese 
here parties on my birfday, an' see if I can get some ob 
de gran' presents, too. {Chuckles and turns to Lillie.) 
What'll you gib me when I does, Lillie ? 

LiLLiE. A box on the ears, you rascal. I'll gib you 
one now if you come a-foolin' round me. (Sam has 
edged his way toward her, and is bowing and smiling at 
her.) You git away from me, I tells you! Now, you 
quit dat f oolin', you no-count rascal, you ! 

Madge (stamps her foot). Sam, you quit that. This 
is no time for foolishness. Run away, now, and fix the 
rest of the things to bring in. But wait a minute, Sam. 
When you have taken the presents you are to take the 
boys' caps, too. You may take them into the house. 

Sam. Yes, Miss Madge, I understands. 

Madge. Well, then, you may go. (Exit Sam to r.) 
Lillie, you are to bow to the girls like this. (Just give a 
little bow or bend of the head. ) Then say, " Come this 
way, ladies, to the dressing-room." Then go with them 
to my room, and assist them if they need you. I know 
that is the way, for it is the way they always do at 
Mother's parties. Now, then, Lillie, what are you to 
say to them? 

Lillie. Fse to say : " Come on in, ladies, wid yo' 
hats." 

Madge (laughing). No. You must say: " Come this 
way, ladies, to the dressing-room." Now, try it again. 
And don't forget to bow. 

Lillie (making a low, awkward bow). "Come dis 
way, ladies, to de dressin'-room." Am dat right. Miss 
Madge ? 

Madge. Oh, it will do. But be careful. If you 
make quite such a bow as that, you might take a tumble, 
you know. 

(Madge straightens chairs once, moving nervously 
about. Lillie starts off r., but steps back as Freeh 
ERICK enters, and stands at rear r.) 

Frederick. Everything ready. Sis? (Looks around, 



PLAYS 91 

whistles, then puts hands in pockets and struts about 
stage. ) My, aren't things dandy fine ! Surely does look 
swell, Sis. I don't believe Mother could have done much 
better herself. 

Madge. Thanks, Frederick. But if you keep your 
hands in your pockets you will not be a very polite host, 
I am afraid. Now, please try and act a little gentleman 
for once. 

Frederick. Oh, don't you worry about my actions. 
You have plenty to do to watch yourself, you know. 
(Laughing heard off l.) Oh, here they come. Sam, 
oh, Sam, come here. 

Sam (entering from r.). Here I is. I'se ready, I is. 
How 'bout you, Lillie ? Am you ready, too ? 

(Edges up to Lillie who draws back.) 

Lillie. You let me be, I tells you. 

Madge. Sam, Sam, you let her be. Do you hear me ! 
Frederick, you stand here by me. (Moves to c.) Sam, 
you meet them and bow and wave them over to us, like 
this — (Bows and waves hand gracefully to R.) Lillie, 
you stand over by that tree and take the girls to my 
room like I told you to do, then you may come back for 
the others. Do you all understand ? 

Lillie. I does, Miss Madge, and Fll get along 
scrumptuous if dat Sam will let me alone. (Goes to r.) 

(Enter Grace and Florence. Sam bows very awk- 
wardly, and waves them to r. All assume grown-up 
manners, of course overdoing it.) 

Florence. How-do-you-do, Madge. And you, too, 
Frederick. (Shakes hands with both and hands a pack- 
age to Frederick.) I hope you will have a very happy 
birthday. 

Frederick. Thanks, very much. . 

Grace (repeating same action). A very happy birth- 
day, Frederick. 

Frederick. Thanks, awfully. I hope you will enjoy 
the party. 



92 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

(He Steps to l. and hands the gifts to Sam, then re- 
turns to Madge's side.) 

LiLLiE ( bowing in awkward fashion ) . Dis way, ladies, 
to de dressin'-room. Come along, you all. 

(Leads Girls off r. as Harry and Victor enter L.) 

Harry (rushes up to Madge and Frederick, in a boy's 
natural way). Hello, there, Madge. How are you, old 
scout, Frederick. Put her there. (Holds hand out.) 

Victor (steps forward and draws Harry back and 
whispers to him as he does so). Why, Harry, that isn't 
the way. Don't forget that this is a party and not a ball- 
game. (Bows over Madge's hand, as Harry turns away, 
muttering " I'd rather it was a ball-game myself.") How- 
do-you-do, Madge? (Shakes hands with Frederick.) 
Hope you'll have a happy birthday, Frederick. 

Frederick. Thank you. Sam ! 

Sam. May I take yo' caps, gentlemen? 

Victor. Thanks, Sam. (Both boys hand caps to 
Sam.) 

Harry (pulling out a package from his pocket). This 
is to wish you a happy birthday, Frederick, old boy! 
(Aside to Victor.) Beat you to it, Vic, wasn't that 
better ? 

Victor (aside). Oh, a little. (Aloud.) I had al- 
most forgotten that I had brought you a trifling memento 
of the happy day. Many happy returns, Frederick. 

Frederick. Thanks, boys. Just walk over and take 
seats. Make yourselves at home. (Goes to l.) Sam, 
please place these on that table. 

(Sam, entering r., crosses and takes the packages. He 
places them on the table and as Frederick goes to R., 
Sam holds up a package tied with a red string and 
winks at audience as he places it on the table. Fred- 
erick goes and stands by tree at r. Victor and 
Harry start to chairs at l. front.) 



PLAYS 93 

Harry (looks about, whistles and puts hands in 
pockets). Some gay, isn't it? Frederick's putting on 
airs right, isn't he ? 

Victor (whispering). Oh, Harry, take your hands 
out of your pockets. I am almost sorry I promised to 
look out for you. You act like a monkey all the time. 
Please try for once. Let's sit down. 

Harry. All right, bossy, I'll be good. But it's so 
much easier to be just plain boy. All this fooling and 
fussing belongs to girls and not to us boys anyway. 
(Starts to sit but stumbles over the chair, almost falls. 
Winks at audience as he straightens up and sits down.) 
I'm no society light, I'm afraid. Guess I'd better 
vamoose if I can't do better, eh ? 

Victor (laughs). Oh, Harry, you're a sight. 

(Enter from r., Grace and Florence. Madge leads 
them to chairs on r. The first chair on r. is kept 
vacant. Girls and boys call " Hello " to each other 
as girls are seated. Madge and Frederick return 
to c.) 

Clara (enters l. in a haughty manner. She is carry- 
ing a very pretty hand-bag. She ignores Sam, who 
shrugs his shoulders comically and returns to l. rear. 
All the children in front look disgusted as she enters. 
She is evidently not a favorite.) How-do-you-do, Madge, 
I think it is lovely to be invited to the party. How are 
you, Frederick? This package is to express to you my 
sincerest wishes for a happy birthday. 

(As Frederick receives the package, the ones in front 
still look disgusted. Harry mimics her manner to 
the delight of the others.) 

Frederick. Thank you very much. Here, Sam, 
please take this package. 

Sam (handling package gingerly and rolling his eyes 
at Clara). Yes, here I is. 

Madge. Lillie ! 



94 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

LiLLiE (entering r., bows low to Clara and waves her 
hand toward R.). Dis way, lady, to de dressin'-room. 

(As Clara goes haughtily past her Lillie winks at the 
rest and then follows Clara, mimicking her walk.) 

James (enters in a natural way. He hands Cap to 
Sam, then goes up to Madge). Hello, Madge and Fred- 
erick. Good of you to have such a nice party. Hello, 
everybody. Here's to a happy birthday, Frederick. 
(Holds up a package and puts it on the table with the 
rest.) 

Frederick. Thanks, James, come on, let's join the 
others. 

(They move to front. James sits by Grace. Fred- 
erick on opposite side. Madge meets Clara as she 
enters from r. and leads her forward. Clara greets 
all with a haughty " How-do-you-do f " She is still 
carrying her hand-bag. She takes first chair on R.) 

All. Hello, Clara. 

Florence. Oh, Clara, what a pretty hand-bag. 

Clara. Thanks. It is a very fine one. I received it 
for one of my Christmas gifts last year. It came from 
England, I believe. 

Grace. Yes, it is lovely. You always have such nice 
things, Clara. (Aside to Florence.) If she wasn't so 
proud of them. 

Harry (aside to Victor). I can't stand that girl. 
Can you? 

Victor (aside to Harry). No. She puts on too 
many airs for me. 

Frederick. Oh, I say, Madge, what'll we do? Can't 
we play something? 

Madge. I might ask some riddles. " What can go 
round and round the house and leave but one track?" 

Harry. Aw! That's a chestnut. Old as the hills. 
A 

Grace. I don't care if It is. I never heard it. Let 
me see. (Studies.) I give it up. What is it, Madge? 



PLAYS 95 

Victor. May I say? It's a wheelbarrow. 

Harry. 'Course it is. But I never saw much sense 
to it. Because if it went around the second time they 
would have to be careful not to make another track. 

Madge. Well, let's try again. " When is a man like 
a chimney ? " 

Harry (groans). Aw! Madge, that's worse than 
ever. Give us a new one or none. 

James. You're an old faultfinder, Harry. But I 
know the answer, Madge. May I tell ? 

Madge. Yes, go ahead. " When is a man like a 
chimney?" 

James. When he smokes. 

Frederick. Yes, that's right. But we can't please 
Harry with riddles unless we know some new ones. And 
I do not believe Madge knows any Harry hasn't heard. 
I know what let's do. Let's try that stunt of seeing who 
can blow out the candle while blindfolded. 

All. Oh, yes, let's. 

Frederick (calls). Sam! 

Sam (entering r.). Yes, here I is. (He bows so 
elaborately that all laugh.) 

Frederick. Bring a candle, a match, the piano-stool 
and a small towel. And be quick about it, Sam, if you 
please. 

Sam. I'll be so quick, I'se done back already. Let's 
see, a candle, a match, de piano-stool an', an' — (Scratches 
head.) What was dat other thing? I'se done forgot 
already. 

Madge. A towel, Sam. You may get Lillie to help 
you with the things. 

Sam. I'se done gone now, I is. 

(Exits R., scratching head and murmuring " towel, 
match," etc., as he goes. All laugh.) 

Frederick. Now we'll get ready. 
Madge. All move your chairs back a little bit. Then 
we will have more room in the center. 



96 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

(All move chairs a little. Clara hangs her hand-hag 
on the hack of her chair. It should he in plain view 
of audience.) 

Sam {enters and places piano-stool in c, then hands a 
towel to Madge). Der am de stool an' de towel. Lillie 
hab de rest. 

Lillie {enters and places a match and a candlestick 
wiih candle, on stool). Der am de rest, Miss Madge. 

Madge. Thank you. You and Sam may stand back 
there and watch the fun if you want to. (Sam winks at 
Lillie, who shrugs shoulders. They hoth go to rear, 
and stand near r. They laugh heartily at the others.) 
Now, who's going to be first? You, James? 

James. No, it wouldn't be polite. Mother always 
tells me to remember " Ladies first." So I say take 
Florence. 

Florence {drawing hack). Oh, no, not first. I 
couldn't. You'd laugh at me. 

Harry. We'll laugh at you anyway. You're an old 
fraidy-cat, you are. 

Grace. Now, Harry, please do not make fun of any 
one. Suppose you try it yourself, Smarty! You are so 
very brave, it seems. 

Harry. All right, I'm game. Tie the towel on, 
Madge. (As he goes to Madge he stumhles over Vic- 
tor's feet. All laugh.) 

Madge (tying the towel around Harry's eyes). 
Frederick, you light the candle. Now I'll whirl you 
around three times so you won't know where you are. 
And when I say the word you are to go to the candle and 
blow it out. All the rest of you come back here and 
stand in a row, so he cannot follow your voices. (Fred- 
erick has the candle ready. All the rest go to rear as 
Madge directs.) Now, ready, Harry. One — two — 
three — go! (Whirls him ahout as she counts the three, 
then gives him a shove as she says " Go.") 

Harry (stumhling around, humps into chairs. He 
shoidd he ahle to see, hotvever). Oh, I'm nowhere near 
the center. (Goes a little way, and stops.) Here you 



PLAYS 97 

are, old candle. Now, then, out you go ! (Blows hard 
three times. As he is not apt to be near the candle, this 
is funny. All laugh.) Well, did I get it? (Tears 
tozvel from eyes, then when he sees how far away he is 
he runs to R. and sinks on first chair. ) 

Frederick. Now, who's next? Harry's a blow, all 
right. But not a good blow at that. Who's next? It 
must be a girl. 

Florence. You called me a " fraidy-cat," Harry, and 
so I will try it. I am sure I cannot do worse than you. 
All right, Madge, I'm ready. 

Madge (takes the towel from Harry and ties it 
around Florence's head). Now, all ready. Harry, you 
come here with the rest. 

(Harry, in obeying, catches the chair and throws it 
over. The hand-bag falls off and as he puts the 
chair back he pushes the bag off stage. He does not 
notice it, however. Madge is seeing that the candle 
is all right, and all are watching her. No one notices 
the bag.) 

Florence (aside to Grace, who is standing next to 
her). I can see. Madge did not get it on tight enough. 
But don't let on now, and we'll have some fun. 

Madge. All right, Florence. ( Goes to her and whirls 
her around. ) One — two — three — go ! 

Florence. Oh, these chairs. Let me see, I'm too far 
over. (Goes to opposite side.) More chairs. I'm 
wrong again. Must be this way. Now, for the center ! 
(Goes to candle and blows it out.) 

Harry. She can see. She can see. 

All. Yes, she can see. 

Clara (with great dignity). She cheated. I thought 
every one played fair. I know I always do. I do not 
like to associate with girls who act so. 

Florence (jerks off tozvel). I didn't cheat. I 
thought it would be fun not to let on. Madge did not 
tie it tight enough ; and I told Grace not to " let on," and 
we would have some fun. But Clara acts so smarty 



98 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

without giving me a chance to explain. I'm not going to 
stay. I'm sure she likes to associate with me as well as 
I do with her. (Cries.) 

Frederick. You must not go, Florence, we under- 
stand. Don't we ? 

All. Of course. (But Clara turns her hack.) 
Madge. Of course you will stay. We just did not 
know you were in fun. We will play something else. 
Sam, you and Lillie may take out the stool and things. 

(Sam and Lillie begin to pick up the things, they 
hump heads and glare at each other, hut finally get 
them off stage.) 

Clara. Now what shall we do? Please, let us play 
something that is not quite so silly. 

Madge. I think it is time Frederick opened his pack- 
ages. What do you all say? 

All. Oh, yes, do. 

Frederick. Sure I will. Will you boys help with the 
table? {They lift the table to c. The others group 
about. As he opens the packages he lifts them up and 
thanks the giver. The third package contains a small, 
tin horn, a joke from Madge.) I thank you, Sis, but 
I am no longer a baby. {But as they all laugh, he blows 
the horn, then he opens another package. It is from one 
of the guests.) Hello, what's this? All done up in red. 
{Begins to unwrap package Sam held up for audience to 
see. After taking off a lot of paper he reveals a tiny 
doll.) " From Sam and Lillie." The rascals. Wait 
till I get them after the party. 

Harry. Really, Frederick, I did think your baby days 
were over. I did not think of it or I'd have brought you 
a doll myself. 

All {laughing). Oh, Baby Frederick! 

Frederick. That's all I'm going to open now. Fll 
thank the rest of you sight unseen. 

All. Oh, go on, Frederick. 

Frederick. That's enough. Let's put it back. {The 
boys move table to l. rear again.) Now what'll we do? 



PLAYS 99 

James. Can't some one think of something? 
Florence. Oh, I know. Grace will recite for us. 
Won't you, Grace? 
Grace. No, please don't ask me. 
All (^clap hands). Grace! Grace! 

(Grace recites anything that is considered fitting.) 

All (clap). Give us another, 

Grace. No, thank you. I know what let's do ! 

Clara. What? 

Grace. Let us play that game, Madge, you lead us 
in. You know it is something like the Virginia Reel 
and yet isn't like it. 

Clara. But we cannot play that without music. 

Madge. I'll get Mother to play for us from the house. 
You clear the lawn and I'll run and ask Mother to play, 

(Madge goes off r. All move chairs back.) 

Frederick. Now all choose partners, boys. {Goes to 
Clara and bows.) May I have the honor? 

(Harry and Grace, James and Florence. Victor 
meets Madge as she returns.) 

Madge. Mother will play. All to their places. 
(They form two columns across stage. Madge should 
he the girl nearest to audience). All ready? 

All. Yes. 

Madge (calls). All ready, Mother. 

(Music begins. Louise, the uninvited guest, comes in 
L., then moves over to r. and hides behind the tree. 
She peeps around it and watches. The others go 
through the following dance: Meet in c. and bow. 
Meet in c. and whirl around, hands clasped. Meet 
in c. and back around each other, back to places. 
Both couple one and couple two go through these 
movements, then Clara breaks it up by screaming.) 



lOO RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

Clara. My hand-bag ! Where did I put it ? {Rushes 
to chair where she had left it.) It's gone. Who has it? 
Who has my beautiful bag? 

(Clara begins to cry. Madge goes R. Music stops. 
All look disgusted but join in the search. They draw 
up their chairs and take the positions they had at 
first,) 

Victor. This is just the way we sat. Now, Clara, 
what did you do with your bag? 

Clara. I hung it on the back of this chair, and now 
it's gone. Who has it? I want my bag! {Cries louder 
than ever.) 

James {catching sight of Louise, who is trying to pass 
off L., without being seen). Oh, look, Frederick, who is 
that? 

Frederick {runs to Louise and pulls her to c. She 
draws back frightened. James takes her other arm and 
together they hold her). Now, Miss, who are you? 
And what are you doing on our lawn ? 

Louise {much frightened) . Oh, I wasn't doing any- 
thing but watching you. Please let me go ; I want to go 
home. 

Clara {rushing up). Oh, I know she is the one that 
has stolen my bag. You give me back my bag, you thief. 

Harry. Wait a minute, Clara. You don't know she 
has your old bag. I can't see what she'd want it for 
anyway. 

Clara {forgetting dignity) . Smarty! {Makes a face 
at Harry.) I'll just bet she has my bag. Things don't 
walk off by themselves. If you don't give me back my 
bag I'll tear your eyes right out. 

Mrs. Burton {entering with Madge and going back 
of Louise). Why, children dear, what is the trouble? 

Clara {still angry). This beggar girl has stolen my 
bag. 

Mrs. Burton. Are you sure? 

Clara. Of course I am. I couldn't have lost it, and 
what's she doing here if not to steal ? 



PLAYS lOI 

Mrs. Burton (to Louise). What have you to say, 
my dear? Let go her arms, boys. You must not be so 
rough. 

Louise. Please, ma'am, I haven't seen any bag. I 
just heard them playing and laughing and I sneaked in 
to watch them, ma'am. I haven't been out from behind 
that tree. (Cries with fright.) 

Mrs. Burton. There, don't cry. 1 do not believe 
you took it. (Brings up a chair.) You just sit here, 
and I am going to look for that bag. The rest of you 
just take your chairs. I am afraid Clara was too excited 
to have made a thorough search. 

Clara. You just look in her pocket. I'm sure she 
has it. 

Louise (crying more than ever). Oh, no, I never 
saw it. Honestly I didn't. 

Mrs. Burton. There now, Clara, please let me at- 
tend to this. If the little girl has your bag she shall be 
made to return it. But, for my part, I think we will find 
it some place else. Now, Clara, just where did you hang 
that bag? 

Clara. Right here on the back of this chair. And 
you see for yourself it's gone. 

Mrs. Burton. Get up, Clara, please. Now move out 
your chair. Oh, I see! Did you look back of this 
small flower-bed out here? 

Clara. No, it couldn't have been out there, could it? 
I tell you that beggar has it. 

Mrs. Burton (steps hack of curtain, then returns, 
holding up the hag). Here it is. I am afraid you did 
not look well enough. Some one has kicked it through 
the flowers and not noticed it. It is not so very large, 
you know. 

Clara. Oh, thank you, Mrs. Burton, for finding my 
precious bag. But I was just sure she had it. 

Mrs. Burton. Never be too quick to judge others, 
my dear little girl. You only cause trouble for yourself 
and them. This little girl is not as well dressed as you, 
perhaps, but that is no sign that she is a thief. She is 



102 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

neat and clean and you know she cannot help it, if she 
is poor. (Goes and sits beside Louise, who has not 
stopped crying. Mrs. Burton takes her hand. ) There, 
dear, don't cry. The children are sorry for having sus- 
pected you. And now, children, how are we going to 
make it up to her? How about it, Frederick, it is your 
party, you know ? 

Frederick. And may I do just as I please about it, 
Mother ? 

Mrs. Burton. Yes, Frederick. 

Frederick (rising and going back of chairs to l. 
front). Well, then I'll say — (Turns.) What is it, 
Lillie? 

LiLLiE. De lunch am ready in de dinin'-room, Marse 
Frederick. 

Mrs. Burton. All right, Lillie, in a moment we will 
be ready. You may go on, Frederick. 

Frederick. Then as the host of this party, and as my 
best birthday gift, I want to invite this little girl. What 
is your name ? 

Louise. My name's Louise. But I want to go home. 
(Tries to leave.) 

Mrs. Burton (putting arm around her). It's all 
right, dear. Please stay where you are. Frederick 
wants to make it up to you. All right, Frederick. 

Frederick. Then, as host, I want to invite Louise to 
be my special guest at lunch. And as a birthday gift, I 
want a unanimous vote for her to remain. All who want 
Louise to stay and eat lunch with us, please rise. (All 
rise quickly but Clara. The rest look at her, until she 
rises reluctantly.) Thank you, all of you. Mother, will 
you take Clara, please ? I intend to take Louise. 

(Sam enters l., Lillie steps over to his side as the 
rest file out r. in the following order: Grace and 
Harry, Florence and James, Madge and Victor, 
Mrs. Burton and Clara, Louise and Frederick. 
After they have gone Sam bows to Lillie.) 

Sam. Will you-all do me de honor ob taking my arm ? 



PLAYS 103 

LiLLiE. Come 'long, den, you no-count rascal you. 
Don't you know dat we hab to serbe dat lunch ? 

(They cake-walk out. Just as they reach the entrance 
on R. both look back and laugh at audience.) 



CURTAIN 



104 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

THE LAND OF VACATION 

{Twenty minutes) 
{A play for children for close of school) 

CAST OF CHARACTERS 

Elizabeth a tall girl, tired of hooks and study 

Old Man Study tall hoy 

Violet girl, a Fairy of Spring 

Imp of Mischief hoy 

Queen of Vacation Land tall girl 

Fairy of Hard Work hoy 

Fairy of Music girl 

One Flower Fairy girl 

Two Joy Fairies girls 

Two Work Fairies one hoy, one girl 

Four Small Girls to sing for Fairy of Music. 

Costumes 

Elizabeth, school dress. 

Old Man Study, dressed as un old man, long gray 
heard, powdered hair, wears spectacles, carries cane, and 
limps as he walks. 

Violet, white fluffy dress, violet sash, large hat of 
violet, white stockings crossed with violet rihhons and 
white slippers. She carries a wand with a violet how tied 
near end. 

Imp of Mischief, red or Mack and red clown suit. 

Queen of Vacation Land, long flowing white robe, 
large white 7vings, crown of flowers or silver paper. 

Fairy of Hard Work, overalls. 

Flower Fairy, same as Violet, ojtly in yellow. 

Joy Fairies, any white dresses with red sashes. 

Fairy of Music, same as Violet, only in pink, and 
carries some small musical instrument. 



PLAYS 105 

Girl Work Fairy, gingham dress, white cap and 
apron, carries a small broom. 

Boy Work Fairy, overalls, carries hoe. 
Small Singers, pretty white dresses. 

SCENE. — A curtain near front of stage conceals the 
real setting. In front of it, just a small table and chair 
at extreme r., chair at extreme l. Behind curtain, a 
fairyland scene. Greenery and palms about stage. A 
flozver-covered throne in center back. Trees, made by 
nailing branches of trees to crosspieces of wood, as 
Christmas trees are fixed, stand one at r. and one at l. 
Greenery is placed around base to conceal the wood. 



Throne 
Tree Tree 

------- Curtain ---_-__. 

Table : Chair Chair 



(Elizabeth is discovered sitting on chair near table. 
There is a pile of school books on the table. She 
holds one in her hand.) 

Elizabeth {yawning and stretching her arms). Oh 
dear, Vm so tired of studying. I feel like I never in this 
world could keep on till the end of school. Now that is 
foolish, for there is only one more little week. And 
then — (Sings.) 

Oh, ho, for vacation, 

The time I love best, 

For a good long vacation 

Of playtime and rest. 

I'll sing and I'll dance 

And shout loudly for glee, 

For vacation's the season, — 

The season for me. 



I06 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

( Tosses book on table. ) I know what I am going to do. 
I'm going to hurry through these lessons and see if I 
can't meet vacation half-way. {Opens another book, 
finds grade-card.) Oh, I had forgotten. Here is my 
grade-card. Tne teacher waited till now to give them to 
us so as to be sure who was in and who out of exams. 
Then she told us not to open them until we were home. 
I'm in exams., I'm afraid. (Opens card, then jumps up 
and dances for joy. Runs to other side of stage, calls.) 
Mother, oh, Mocher, I'm out of exams ! Yes, honestly ! 
Isn't that grand! (Goes back to table.) Now, old 
books, I'm actually through with you. No more recita- 
tions this year. Hurrah! Now for good old vacation 
time and all play and no study nor work. 

(Enter Old Man Study from l. Elizabeth is sur- 
prised and startled.) 

Old Man Study. Well, my dear little lady, so we 
meet at last. You act as if you dc not know me. I'm 
Old Man Study. I'm just about the oldest thing on 
earth. Everybody always studies. You think you are 
rid of me because you are through with these (Points 
to books.) but you are just beginning to study when you 
close these up. You cannot get away from me. 

Elizabeth (overcoming her fright). Oh, but you are 
badly mistaken. I am through with you for three whole 
months, Old Mister Study ! 

Old Man Study (bowing stiffly). Sorry, my dear 
little lady, I am very sorry if you feel that way, but you 
will never be through with me. This world is made up 
of study and work, and in some way we must always be 
at it. 

Elizabeth. But surely not in vacation ! 

Old Man Study. Yes, in vacation, too. Always. 
You do not have to study from books, oh, no, but you 
must study just the same. 

Elizabeth. Tm sure I do not understand you. 

Old Man Study. And I am afraid I am not the one 
to make you understand. You are too afraid of me. 



PLAYS 107 

You see, when you play, you study how to play the best 
you can, or you do not enjoy your play. When you work 
you study how to do it rignt. Vvhen you take a walk in 
the woods you study the birds and flowers. So, you 
see, you study when you do not even know you are study- 
ing. If you will work as well as play during vacation, 
you will be far happier than if you do as you are plan- 
ning and have all play and no work. 

Elizabeth. But I do not intend to work or to study 
either during vacation. I hate to work or to study 
either, so there ! 

Old Man Study. I cannot make you see. Oh, I 
know what I will do. I do not want you to be an idle 
little girl. I want you to grow up a fine useful lady. I 
want you to learn that work and study are necessary to 
make you happy. I'll call Violet, the Fairy of Spring. 
She can tell you all about it. 

Elizabeth (pouting). Who is Violet? I do not 
know as I want her to come, even if she is a fairy, if she 
intends to show me that I have to work. 

Old Man Study. Oh, you'll like her all right. Fairy 
of Springtime! We call her Violet, because she is al- 
ways around in the early Spring. Fll call her. You 
stand behind the table there. (Goes to l. and recites.) 

Fairy of Springtime, 
Violet bright, 
Come to the rescue 
Of my sad plight. 
Come help me to show 
To this little one, 
That all life's a mixture 
Of work and of fun ! 

(He steps to rear on l. Music plays a lively tune as 
Violet enters from l. She runs on tiptoe to c, 
then to front, and hows to r. and l. Then she whirls 
clear around and runs to L. Music stops.) 

Violet. I heard your call for help, dear Old Father 
Study. What can I do for you ? 



I08 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

Old Man Study. Why, this young lady (Points to 
Elizabeth.) is determined to discard both work and 
study for the next three months. I cannot convince her 
that it is necessary to do either during vacation time. 
She thinks vacation should be all play. I need your 
help to show her it should not. 

Violet. Oh, I can help you and I will. (Runs to 
Elizabeth, zvho is still at r.) Why, my dear little girl, 
even fairies do not find life all play. I am going to show 
you what the Fairyland of Vacation is like. I'll take you 
there. (Recites.) 

We work, we play, 

We laugh, we sigh, 

We study what is best to do. 

We play, we sing. 

We shout, we dance. 

And we are happy all day through. 

Now you can never guess whom I am going to call to 
help me take you to Fairyland of Vacation. Wait ar"* 
see. (Runs to l. and calls.) 

Oh, Imp, dear Imp of Mischief, 
Come now, I need your aid. 
For without 3^our happy presence 
I'll ne'er convince this maid. 

(She waves wand. Music begins a very lively tune. 
Imp of Mischief tumbles onto the stage, turning 
handsprings or jumping or hopping in any lively, 
unusual manner. Goes to front, sits cross-legged on 
stage, bobs head to r. and l., screws up his face in 
an exaggerated zvink, jumps up suddenly, runs to R. 
and pinches Elizabeth. Elizabeth, who was 
laughing at his antics, screams and draws back in 
fright. Violet runs up to them and shakes Imp. 
Music stops.) 

Violet. No more of that, you Imp! You can be a 
dear when you want to be, and 1 want you to be one now. 



PLAYS 109 

So please get one of your sober moods on and help me. 
Are you going to ? 

Imp (who has been winking at the audience, suddenly 
turns to Violet with an exaggerated seriousness). I 
am ! Just tell me what to do. 

Violet. Oh, I intend to keep you busy for a moment, 
anyway. I've always found that Imps of Mischief are 
much better when kept busy. {The Imp has been work- 
ing his way to Elizabeth, who draws back.) Here, 
come away from her, you tease. I want you to help me 
to take her to our Fairy Vacation Land. You go on that 
side now and help me pull the curtain that conceals our 
Fairyland. 

(Imp pidls Violet's hair as he passes her. He runs 
to R. front, sits, winks at audience, then looks mis- 
chievously at Violet. She waves her wand threat- 
eningly. He jumps up and helps her pidl the cur- 
tain. Elizabeth claps her hands in delight at the 
scene. Imp runs to tree at l. and hides behind it, 
peeping at audience. Old Man Study picks up 
hooks from table.) 

Old Man Study {to Elizabeth). And now, my 
dear, I'll leave you to the mercy of Violet and her fairies 
all. I'll take these books away, but she can perhaps tell 
you of other studies for vacation time. Farewell to your 
books until next September, then, Elizabeth. 

(Elizabeth tosses her head as he limps off r.) 

Violet {drawing Elizabeth to l. front). You are to 
sit here, my dear, and I will summon those who dwell in 
this Fairyland of ours. {Runs to rear and waves wand 
to R. then l.) 

The first to enter here, you see, 
Is queen of all our fairy band; 
She rules us all with mighty power, 
But we love to obey her least command. 



no RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

{Steps hack as Queen enters l. Music plays softly 
and slowly as she enters. Imp mocks her stately 
walk, hut as she ascends the throne, he kneels. ' 
Violet goes to R. of throne and kneels. Imp is 
on L.) 

Queen. You may arise, dear Violet. Come and 
stand here, near my throne. And there's the Imp of 
Mischief, too. Well, you may arise and, if you can be- 
have yourself, may come here on this side of my throne. 
(Imp turns a handspring to position indicated hy Queen.) 
Imp, you may sit down on the ground, and be very still 
until I speak to you. You know that I do not approve 
of your antics at all times. I want you to be good some- 
times. 

Imp (making an awkward how). Oh, Queen, I am. 
Just wait until I tell you all I've done. Why, without a 
little spirit of mischief and clean fun what would become 
of the earth, I wonder? 

Queen. I know, dear Imp, you do a lot of good. But 
please be quiet, now, for I have " affairs of state " to 
attend to. 

(Imp sits down, hut gradually edges his way to tree, 
there he sits and plays peep with Elizabeth, who 
cannot keep from laughing.) 

Queen. Now, Violet, my dear, what have you done 
to-day ? So near vacation time as this, I hope all of my 
fairies have been faithful to their tasks. 

Violet (bowing low). I've tried to be faithful, O 
beloved Queen. This is what I've done. (Recites.) 

I set me forth at break of day, 

To see fresh dew was on the ground ; 

To see that new spring flowers were out ; 

And found them blooming all around. 

And then I met some little girls 

And boys from school set free, 

And taught them how to plant the seeds 

And help the gardens grow for me. 



PLAYS XII 

I've also set my helpers here 
At work in lovely fairyland, 
And already we have blooming now 
Some flowerets that are- very grand. 

{Waves wand to l. and a Fairy enters. It is the 
Flower Fairy. She bows to Queen and passes to 
R., stands there while Queen speaks, then hows again 
and exits to r.) 

Queen. You have done nobly, dear Violet. You 
may go now, Flower Fairy. Try to see how you can 
help to make the earth beautiful. {Exit Fairy.) Vio- 
let, you may sit on the edge of my throne and help me 
with the rest of my morning's duties. Now, Imp, where 
are you? (Imp jumps to position.) In mischief as 
usual. Come, tell me what you have done to help the 
children through vacation time work and play. 
Imp {bows again awkwardly and recites). 

Oh, lovely Queen of Vacation Land, 

Fve helped more than any in all our band ; 

Tve helped in, out, and all round about ; 

IVe made the children laugh and shout. 

IVe taught them how to sing and play, 

And to be happy all through the day. 

Without my mischief in their eyes, 

This world would be a land of sighs. 

So I have sent my helpers out 

To put all childish woes to rout. 

My fairies now I'll call for you. 

And know that you will love them, too. 

This is the Fairy of Laughter, 

{Enter ist Joy Fairy.) 

And every one says, " No one like her." 
(ist Joy Fairy bows to Queen, then goes to R.) 

This is the Fairy of True Joy and Gladness ; 
{Enter 2nd Joy Fairy, l.) 

Did you ever see a dearer little miss ? 
(2ND Joy Fairy bows and goes to r.) 

Now, Queen, please say I've done right well, 

And maybe I'll be real good, who can tell ? 



112 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

{The two Joy Fairies give this little dance. Music 
plays a waltz.) 

1. Dance to center, hand in hand, use waltz step. 

2. Bow to Queen. 

3. To front of stage. 

4. One turns R., one l. 

5. Dance around stage. 

6. Meet in front of throne. 

7. Repeat from 3, only turning around every sixth 
step. 

8. Back to places at r. 

Queen. Oh, dear little Imp of Mischief, even you 
have been at work, for if you implant in children the 
joy of living, they share that joy with their elders. Study, 
and work faithfully to give clean fun and happiness to 
the children of earth. You may take your helpers out 
to play, but do not go too far away. {Exeunt Imp and 
Joy Fairies. He rushes up to them and taking an arm 
of each, struts comically out. Queen laughs: then turns 
to Violet.) Violet, please call the Fairy of Hard Work. 

(Violet runs to l., waves wand. Enter Fairy of 
Hard Work who kneels to Queen.) 

Queen. You may arise. Fairy of Hard Work. I 
suppose you are a little tired. Your task is not an easy 
one at any time, but especially hard during vacation- 
time. But what work have you done now? 
Hard Work {recites). 

Dear Queen, you are quite right, as always ; 

My work has not been light ; 

It is not so easy to make folks work 

As it is to make them gay and bright. 

However I have succeeded 

In scattering round about 

Some sound advice to children 

Who from school have been let out. 

I've talked with Old Man Study, 



PLAYS 113 

Who's been with them all the year, 

And he told me, " Some are workers, 

While others shirk I fear/* 

So he agreed to help me, 

And we're teaching children all, 

Vacation is not all for fun, 

That on each some work must fall. 

Here's the boy who plants the garden, 

(Enter Boy Work Fairy.) 
And knows how to tend it, too, 
Now I call him a useful chap, 
And " worth his salt," don't you ? 
(Boy bozvs to Queen, then moves r.) 
Then here's the mother's helper, 

(Enter Girl Work Fairy.) 
A bright, dear little girl. 
Mother calls her " Precious Sunshine " 
And her " lovely little Pearl." 

(Girl bows then goes R.) 

Queen. You've helped the world out wonderfully. 
I thank you for your help. For when children realize 
that vacation is not all for selfish fun, it is a very real 
help to mothers and fathers. 

(The Imp has slipped in and stands at l., dodging, so 
as not to be seen by Queen. He mocks every one 
and carries on all sorts of mischief. He goes to 
Elizabeth and teases her by making her jump, he 
slips up behind her and tickles her on the neck with 
a feather. She thinks it a fly and slaps at it, then 
he doubles up, laughing silently. Violet finally 
sees him and puts him off stage. Others laugh. 
V101.ET returns to throne.) 

Queen (continuing). Dear Hard Work Fairies, you 
may take a vacation yourselves and rest the remainder 
of the day. Good luck to you. You have well earned 
your playtime. (They bow and exeunt.) Now, Violet, 



114 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

please summon the Musical Fairy, for without music what 
would vacation-time be like? (Violet runs to l. and 
waves wand. Music plays very softly as a lovely Fairy 
OF Music enters. She moves with slow and great dignity 
to front of throne, bows low.) Dear Fairy of Music, 
what have you done to make vacation work and play for 
mortal children? 

Musical Fairy (Music, soft and low, while she 
speaks). 

Oh, Queen, when set to work by you. 
To teach the children what to do 
In vacation-time, with music sweet, 
I found I had a task complete. 
I had no time to idly waste ; 
No idle moments, I moved with haste. 
I had to work to teach them all. 
Vacation was the time to call 
Th^ir own for music practice time ; 
To learn the joy of music's spell. 
Whenever they sing or play it well. 
And ril have thousands soon at work, 
Not one of them their task will shirk. 
And if you really wish me to, 
I'll call out four of them for you. 

(Queen nods. Music changes to a march. Enter 
Four Small Girls, as Fairies of Music. They 
file in front of Queen and bow, then turn and march 
to front of stage, all four abreast. Be sure to keep 
a straight line in moving forward. Music changes 
to a song. Any school song may be used. They 
sing, Music plays a march again, they turn, march 
to rear, bozv to Queen and exeunt single file to R. 
Music stops.) 

Queen. You certainly have done well with your work, 
oh, Musical Fairy, if that is a fair sample of the start 
you've made. You may stand here on the right side of 
my throne. Violet, please summon all our friends at 
once, then you may stand on the other side of the throne 



PLAYS 115 

when you return. I see the Imp is already here. Imp, 
you may stand here at my feet where I can watch you. 

(Violet, who is on l. for this last scene, runs to r., 
waves wand, then returns to position assigned by 
Queen on l. step of throne. Music, a marcH. The 
entire Cast of Characters file in and forpi a semi- 
circle; half on R. ; half on l. of throne. Fairy 
OF Hard Work on R. front, and Old Man Study 
on L. front. ) 

Queen. And now, dear little mortal girl Elizabeth, 
(Elizabeth rises.) that you have seen our vacation 
Fairyland, and know that each of us must work and 
study, even though we are fairies, do you care to join 
our ranks ? You see how a vacation should be spent, not 
in idle dreaming and in play, but in helpful work and 
study as well! You see we are always happy, for we 
are too busy to be discontented and unhappy. Do you 
think you could care for our kind of a vacation ? 

Elizabeth (eagerly). Yes, O Queen, I know I should 
love it. And I do want to join this year. I see now, so 
many things I could have done during vacations before. 
Please let me join you. I shall not be happy unless you 
do. 

Queen (to Violet). Please bring her here. 

(Violet goes to Elizabeth and leads her to throne. 
Elizabeth kneels. Queen steps from throne and 
helps her to rise, then steps hack on throne and lays 
the tip of her scepter on Elizabeth's head.) 

Queen. Rise, little vacation Fairy, Elizabeth. You 
are to be one of us from now on. I feel sure you will 
have the happiest, most joyous vacation you have ever 
had. We welcome you. Fairies, bow to greet our new 
member. (Fairies how.) 

Elizabeth. Thanks, O Queen. I already love Vaca- 
tion Land ! My, what a happy, happy summer I am going 
to have! 



Il6 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 

(Music "Marching Through Georgia/' Queen picks 
up a large flag that is lying on the throne at back, 
and Violet and Fairy of Music find smaller ones; 
they wave them in time to the music. Others, led 
by Fairy of Hard Work, march once around stage, 
then back to position. All sing. Tune, the same.) 

On this joyous summer day 

We'll sing another song, 

Sing it with a spirit 

That will start the world along. 

Sing it as we love to sing it, 

With childish voices strong. 

While we are working and playing. 

(Chorus.) 
Hurrah, hurrah, for dear Vacation Land ! 
Hurrah, hurrah, come join our happy band! 
We'll all then sing the chorus 
While we work and while we play, 
While we go marching through vacation. 

(Musicians play chorus once again, singers repeat 
words of chorus, while marking time. Those on 
throne wave flags in time to music. At the con- 
clusion of song, curtain is drawn, all remain quietly 
in places until curtain is quite closed except Imp, who 
turns a handspring to front of stage and winks at 
audience.) 



CURTAIN 



THE ELOFEMENT OF ELLEN 

• A Farce Comedy in Three Acts by Marie J.Warren, Four males, 
three females. Costumes, modern ; scenery, one interior and one exte- 
rior. Plays an hour and a half. A bright and ingenious little play, ad 
mirably suited for amateur acting. Written for and originally produced 
by Wellesley College girls. Strongly recommended. 
Price^ 55 cents 

A VIRGINIA HEROINE 

A Comedy in Three Acts by Susie G. McGlone. Eleven female char 
acters. Scenery, easy ; costumes, modern. Plays one hour and forty-five 
minutes. Irish and Negro comedy parts, and two character parts ; most 
of the characters young. A very easy and interesting play for girls, wtll 
suited for school performance. Romantic interest with lots of comedy. 
Price^ J5 cents 

OUR CHURCH FAIR 

A Farcical Entertainment in Two Acts by Jessie A. Kelley. Twelve 
females. Costumes, modern ; scenery, unimportant. Plays an hour and 
a quarter. A humorous picture of the planning of the annual church fair 
oy the ladies of the sewing circle. Full of local hits and general human 
nature, and a sure laugh- producer in any community. Can be recom- 
mended. Price^ 2^ cents 

ALL CHARLEYS FAULT 

A Farce in Two Acts by Anthony E. Wills. Six males, three females. 
Scenery, an easy interior ; costumes, modern. Plays two hours. A rery 
lively and laughable piece, full of action and admirably adapted for ama- 
teur p)erformance. Dutch and Negro comedy characters. Plays very 
rapidly with lots of incident and not a dull moment. Strongly recom 
mended. Price, 2$ cents 

HOW THE STORY GREW 

An Entertainment for Women's Clubs in One Act by O. W. Gleason. 
Eight female characters. Costumes, modern ; scenery, unimportant ; may 
be given on a platform without any. Plays forty-five minutes. A very 
easy and amusing little piece, full of human nature and hitting off a well 
known peculiarity of almost any community. Written for middle-aged 
women, and a sure hit with the audience. Pricey 25 cents 

THE COUNTRY DOCTOR 

A Comedy Drama in Four Acts by Arthur Lewis Tubbs. Six males, five 
females. Costumes, modern ; scenery, two interiors. Plays two hours 
Easy to ttage and full of interest. The female parts are the stronger, being 
exceptionally good. Negro and " hayseed " comedy parts. A very strong 
drajnatic piece. Can be recommended. Prxctt 35 cents 



THE CONJURER 
A Dramatic Mystery in Three Acts 

By Mansfield Scott 
Author of ** The Submarine Shell" **The Air-S^,** tie. 

Eight male, four female characters. Costumes, modern ; scenery, tww 
easy interiors. Plays a full evening. Royalty for amateur performance, 
$\o.oo for the first and ^5.00 each for subsequent performances by the 
same company. Free for school performance. George Clifford, in- 
capacitated for service at the front, employs his great talents as a conjurer 
to raise money for the soldiers. He is utilized by Inspector Steele, of the 
U. S. Secret Service, in a plan to discover certain foreign spies. The plan 
goes wrong and involves seven persons in suspicion of a serious crime. 
Clifford's clever unravelling of this tangled skein constitutes the thrilling 
plot of this play, the interest of which is curiously like that of the popular 
" Thirteenth Chair." This is not a " war-play " save in a very remote 
and indirect way, but a clever detective story of absorbing interest. 
Strongly recommended. 

Pru:e,yg cents 

CHARACTERS 

Inspector Malcome Steele. Driscoll Wells. 
George Clifford. Doctor Gordon Peak. 

Captain Frank Drummond Detective White. 

Gleason. Marion Anderson. 

Lieutenant Hamilton War- Edith Anderson. 

wick. Ellen Gleason. 

Colonel Willard Anderson. Dorothy Elmstrom. 

SYNOPSIS 

Act I. — The home of Colonel Anderson (Friday evening). 
Act II. — The office of Inspector Steele (Saturday afternoon). 
Act III. — ^The same as Act II (Saturday evening). 



THE OTHER VOICE 

A Play in One Act 

By S. vK. Fairbanks 
Throe yokes, preferably male, are employed in this little novelty which 
is intended to be presented upon a dark stage upon which nothing is 
actually visible save starlight. It was originally produced at Workshop 
47, Cambridge, where its effective distillation of the essential oil of tragedy 
was curiously successful. An admirable item for any programme seeking 
variety of material and effect. Naturally no costumes nor scenery are re- 
quired, save a drop carrying stars and possibly a city sky-line. Plays ten 
minutes only; royalty, iJ^S-OO. 

Pricet 2S cents 



HITTY'S SERVICE FLAG 

A Comedy in Two Acts 

By Gladys Ruth Bridgham 

Eleven female characters. Costumes, modern ; scenery, an interior. 

Plays an hour and a quarter. Hitty, a patriotic spinster, quite alone in 

the world, nevertheless hangs up a service flag in her window without 

any right to do so, and opens a Tea Room for the benefit of the Red 

Cross. She gives shelter to Stella liassy under circumstances that close 

other doors against her, and offers refuge to Marjorie Winslow and her 

little daughter, whose father in France finally gives her the right to the 

flag. A strong dramatic presentation of a lovable character and an ideal 

patriotism. Strongly recommended, especially for women's clubs. 

Frice, 2^ cents 

CHARACTERS 

MeHITABLE JUDSON, a^<f^7<?. 

LuELLA Perkins, aged 40. 

Stasia Brown, aged 40. 

Mildred Emerson, aged 16, 

Marjorie Winslow, aged 23, 

Barbara Winslow, her daughter, aged 6. 

Stella Hassy, aged 23, but claims to be youmgtr, 

Mrs. Irving Winslow, aged 4^. 

Marion WmsLOW, her daughter, aged 20, 

Mrs. Esterbrook, aged 45. 

Mrs. Cobb, anywhere from 40 to 60. 

THE KNITTING CLUB MEETS 

A Comedy in One Act 

By Helen Sherman Griffith 

Nine female characters. Costumes, modern ; scenery, i.a. i aterior. 

Plays half an hour. Eleanor will not forego luxuries nor in other wayf 

•< do her bit," putting herself before her country ; but when her old 

enemy, Jane Rivers, comes to the Knitting Club straight from France to 

tell the story of her experiences, she is moved to forget her quarrel and 

leads them all in her sacrifices to the cause. An admirably stimulating 

piece, ending with a ** melting pot " to which the audience may also be 

asked to contributec Urged as a decided novelty in patriotic plays. 

Price, 2S cents 

GETTING THE RANGE 

A Comedy in One Act 
By Helen Sherman Griffith 
Bight female characters. Costumes, modern; scenery, an exterior. 
Well suited for out-of-door performances. Plays an hour and a quarter. 
Information of value to the enemy somehow leaks out from a frontier 
town and the leak cannot be found or stopped. But Captain Brooke, of 
the Secret Service, finally locates the offender amid a maze of false clues, 
in the person of a washerwoman who hangs out her clothes day after day in 
ways and places to give the desired information. A capital play, well 
recommended. Frice, a^ cents 



LUCINDA SPEAKS 
A Comedy in Two Acts 
By Gladys Ruth Bridgham 
Eight women. Scene, an interior ; costumes, modern. Plays an hour 
and a quarter. Isabel Jewett has dropped her homely middle name, 
Lucinda, and with it many sterling traits of character, and is not a very 
good mother to the daughter of her husband over in France. But cir- 
cumstances bring " Lucinda " to life again with wonderful results. A 
pretty and dramatic contrast that is very effective. Well recommended. 
Price^ 2S cents 

CHARACTERS 

Isabel Jewett, aged By. 
Miriam, her daughter, aged 7, 
Mrs. McBierney, aged 30. 
Tessie Flanders, aged 18. 
Mrs. Douglas Jewett, aged 4$, 
Helen, her daughter, aged 20. 
Mrs. Fogg, aged jj. 
Florence Lindsey, aged 23, 

SYNOPSIS 

Act I. — Dining-room in Isabel Jewett' s tenement, Roxbury, 
October, 1918. 
Act II. — The same — three months later. 

WRONG NUMBERS 

A Triologue Without a Moral 

By Essex Dane 

Three women. Scene, an interior; unimportant. Costumes, modem. 

Plays twenty minutes. Royalty, ;^5.oo. An intensely dramatic episode 

between two shop-lifters in a department store, in which " diamond cuts 

diamond " in a vividly exciting and absorbingly interesting battle of wits. 

A great success in the author's hands in War Camp work, and recom 

'sended in the strongest terms. A really powerful little play. 

Price, 25 cents 

FLEURETTE & CO. 
A Duologue in One Act 
By Essex Dane 
Two wonen. Scene, an interior ; costumes, modern. Plays twenty 
minvtM. Royalty, $5.00. Mrs. Paynter, a society lady who does not 
pay her bills, by a mischance puts it into the power of a struggling dress- 
maker, professionally known as " Fleurette & Co.," to teach her a valu- 
able lesson and, incidentally, to collect her bilK A strikingly ingenious 
and entertaining little piece of strong dramatic mterest, strongly T%%9mar 
mended. 

P^ice, 2S<^^^^ 



OLD DAYS IN DIXIE 

A Comedy-Drama in Three Acts 

By Walter Ben Hare 

FiV6 ihales, eight females. Scene, a single interior. Costumes of the 
period. Plays two hours and a quarter. Beverly Bonfoey, a high type 
of Southern gentleman, loves Azalea, his mother's ward, but Raoul 
Chaudet, a Canadian adventurer, to whom he has given the hospitality of 
Bonfoey, steals her love. Forced to leave suddenly because of crooked 
money transactions, he persuades her to elope, but this is prevented by a 
wonderfully dramatic device. Beverly then challenges Raoul, who shows 
the white feather and runs away, and Beverly, to save the family honor, 
assumes the consequences of his swindling transactions. The untying of 
this knot is the plot of a strong play with a genuine Southern atmosphere 
written wholly from the Southern point of view. Royalty, ^gio.oo for the 
first and J555.00 for subsequent performances by the same cast. 
Price, J5 cents 

CHARACTERS 
The Prologue, the Goddess of the South. 
Madame Bonfoey, mistress of the plantation. 
Azalea, her ward. 
Nancy, Azalea s sister. 

Cousin Sallie Sellers, /;'t7w a neighboring estaU* 
Phoebe, a little coquette. 
Mary Rose, Phosbe s sister. 
Mam' Dicey, the house mammy. 
Beverly Bonfoey, the young heir. 
Judge Pennymint, his uncle. 
Raoul Chaudet, a visitor from Quebec. 
Cameo Clemm,/;w« the city. 
Unker Shad, a bit of old mahogany. 

Beaux and Belles of Dixie, 

SYNOPSIS OF SCENES 
Act I. The drawing-room of the Bonfoey Plantation in 1849* 
The letter. 
Act II. The dinner party. The duel. 
Act III. An April morning, three years later. The return. 

THE ORIGINAL TWO BITS 

A Farce in Two Acts 

By Hazel M. Robinson 

iVriiten for and presented by The Invaders Club of the United 

Baptist Church of Lewiston, Maine 

Seven females. Scene, an interior. Plays twenty minutes. The girls 
in camp receive a visit from a neighbor and have to borrow the neighbor's 
own dinner in order to feed them. They almost get away with it — not 
quite. Irish comedy character, eccentric aunt, rest straight. 
Price, 2j cents 



HAMILTON 

A Play in Four Acts 
By Mary P. Hamlin and George Arliss 
Eleven males, five females. Costumes of the period ; scenery, three 

interiors. Plays a full evening. Royalty for amateur performance where 
an admission is charged, ^25.00 for each performance. Special royalty of 
jg 10.00 for performance by schools. This play, well known through the 
peifonnances of Mr. George Arliss still continuing in the principal theatres, 
presents the builders of the foundations of the American Republic as real 
people, and its story adroitly illustrates not merely the various abihty of 
its leading figure, Alexander Hamilton, but the unconquerable courage 
and determination that were his dominating characteristics. The vivid- 
ness with which it vitalizes the history of its period and the power with 
which it emphasizes Hamilton's most admirable and desirable quality, 
make it most suitable for school use, for which special terms have ktvk 
arranged, as above. Strongly recommended. 
Price, 60 cents 

CHARACTERS 
Alexander Hamilton. Colonel Leak. 

General Schuyler. First Man. 

Thomas Jefferson. , 

Monroe. Betsy Hamiltok. 

Giles. Angelica Church. 

Tallyrand. Mrs. Reynolds. 

Jay. Soldier's Wife. 

Zekiel. Melissa. 

Reynolds. 

THE SCENES 
Act I. — The Exchange Coffee House in Philadelphia. 
Act n. — A room in Alexander Hamilton's house in PhiU* 
delphia. (The office of the Secretary of the Treasury.) 
Act III. — The same. (Six weeks later.) 

Act IV. — A reception room in Alexander Hamilton's house. 
(The next morning.) 

THE MINUTE MAN 

A Patriotic Sketch for Girls of the High School Age in a 

Prologue and Three Ei)isodes 

By Nellie S. Messer 

Thirteen girls. Costumes, modern, Colonial and of the Civil War 

period. Scenery, three interiors. Plays an hour and a half. Betty and 

Eleanor, typically thoughtless girls of the present day, run across the 

diaries of Bess's mother and grandmother, which relate the experiences of 

girls of their age and kind at previous periods of their country's history, 

and learn a vivid lesson in patriotism. The scenes of the past are shown 

in dramatic episodes visualizing the matter of the diaries that they read. 

A very clever arrangement of a very stimulating subject, strongly recoe»- 

mended for all occasions where the promotion of patriotism is desired. •* 

limely lesson strongly enforced. 

Price, 2S-^ttfs 



OVER HERE 
A Drama of American Patriotism in Three Aete 

By Walter Ben Hare 
Seven male and six female characters. Two easy scenes, a village 
square and a plain room ; may be played on any stage or platform. A 
play designed to instil in the minds and hearts of the actors and the au- 
dience a deeper love for their country and a more thorough understanding 
of America's motives in entering a war to "make the world safe for de- 
mocracy." While several very .strong emotional roles are introduced, the 
play, with careful rehearsing, may be made a big success even in the 
hands of the most inexperienced amateurs. Dan Monihan, jail-bird, 
water-rat, enemy of society, becomes the tool of certain German spies and 
brings an important package to Eckert, a wealthy miller at River Land- 
ing, Mo. The entrance of our country into the world struggle, the volun- 
teers leaving for the cantonments and the teachings of the patriotic Miss 
Em Finch tend to change the character of Dan Monihan from a G€r- 
man spy to an American lad willing to die for his country. In an in- 
tensely dramatic scene in the third act Dan, taunted with being a traitor 
and a man without a country, turns on Eckert, and, in a frenzy of pa- 
triotic hysteria, tries to kill the arch-spy. The play has certain literary 
qualities that will appeal to all teachers, and its patriotism will electrify 
its audiences and keep them tense with emotion from the rise to the fall 
of the curtain. Royalty, jgio for each performance. 
Price^ J5 cents 

CHARACTERS 

Dan Monihan. Corporal Shannon. 

[. B. Wheedon. Miss Em Finch. 

[UDGE Gary. Miss Lornie Davis, the milliner. 

Comrade Ferguson, a veteran Lizzie. 

of the Civil War. Mrs. Cronin. 

Tommy Cronin. Celia Baker. 

Frederick J. Eckert. A Child. 

SYNOPSIS 

Act L — The village square at River Landing, Mo. The day 
^hey heard the news. 

Act II. — Same scene as Act I. The day the boys marched away. 

Act III. — Sitting-room in Eckert's house. The night the spy 
came home. 

STRONG MEDICINE 

A Comedy in Two Acts 
By Ernest L. Noon 
Three male, three female characters. Costumes modem ; scene, an in- 
terior. Plays an hour and a quarter. Royalty for amateurs, j^5.oo for 
each performance. If a young surgeon should propose to you in his 
operating apron just after an operation, you would probably refuse him 
anyhow just as Kitty Davidson did Dr. Gordon. Perhaps the methtxi 
you chose to repair the blunder would work better than Davidson's did, 
but it might not be as funny. A very novel and amusing piece strongly 
Ncommended. All the parts evenly good. 
Price, 2^ cents 



PROFESSOR PEPP 

A Farcical Comedy with a College Flavor in Three i 
By Walter Ben Hare 
Nine males, seven females. Costumes, modern ; soeae, an easy «t 
terior, the same for all three acts. Plays two hours and twenty minutes. 
Professor Pepp, on a vacation trip to Russia, is initiated by Boris Ardoi^ 
a Russian humorist and former pupil of the Professor's, into a Nihilist So- 
ciety •* The Redeemers;" and is so unlucky as to draw the red ball which 
obliges him to murder the Princess Katchakoffsky. In terror he at 
once flies from Russia, but Boris, to prolong the joke, writss ahead of him 
to a friend on the faculty, telling the story and revealing the password — 
" Bumski." With this weapon everybody in turn hai his own way with 
the terrified Professor, who sees a Nihilist in every bush. A side-splittei 
with more good parts than any piece of its kind for years. Strongly rec- 
^mmended for school or college performance. Brietf^^ cents 

CHARACTERS 
Professor Peterkin Pepp, a nervous wreck. 
Mr. C. B. Buttonbuster, a giddy buiter/iy of forty-eight. 
Howard Green, his son, who had the court change his namt, 
Sim Batty, the police force of a college town. 
Pkddler Benson, working his way through school. 
Noisy Fleming, just out of high school. 
Pink Hatcher, an athletic sophomore. 
Buster Brown, a vociferous junior. 
Betty Gardner, the professor s ward. 

Aunt Minerva Boulder, his housekeeper, from Skoufhegan^ MnJIm. 
^ETVtiiA Muggins, the hired girl. 
Olga Stopski, the new teacher of folk- dancing. 
Kitty Clover, a collector of souvenirs. 
Vivian Drew, a college belle. 
Irene Van Hilt, a social leader. 
Caroline Kay, the happy little freshman. 

Students, Co-eds, etc, 

SYNOPSIS 
Act I. P»'ofessor Pepp's residence on the college cainpws> 
Act II. Same scene. Surrounded by the nihilists. 
Act \\\. Same scene. A double wedding. 

NOT ON THE PROGRAMME 

A Comedy in One Act 
By Gladys Ruth Bridgham 
Tbfyce males, three females. Costumes, modern; scenery, a single )n 
terior. Plays forty minutes. Mrs. Whitney, rehearsing for amateur the- 
atricals with Vincent Fielding, a dramatic coach, in her own home, is 
misunderstood by Ophelia Johnson (colored), her maid, who summons thf 
police to straighten out what seems to her a very criminal state of things. 
•Rastus Brown, a plumber and admirer of Ophelia, hel|>s Officer Hogan t« 
muddle matters into a very laughable state ot coniiiaioiL Bmjt mi 
strongly recommended. Price^ 25 cents 



THE AIR-SPY 
A War Play in Three Acts 
By Mansfield Scott 
Twelve males, four females. Costumes, modern ; scenery, a singla in- 
terior. Plays an hour and a half. Royalty, #10.00 for first, $5.00 for 
subsequent performances by same cast; free for school performance. In- 
spector Steele, of the Secret Service, sets his wits agamst those of German 
emissaries in their plot against Dr. Treadwell's air ship, a valuable wai 
invention, and baffles them after an exciting pursuit. An easy thriller, 
full of patriotic interest. Easy to get up. and very effective. Strongly 
recommended for school performance. Originally produced by The 
Newton (Mass.) High School. 

Priccy 55 cents 

CHARACTERS 
Dr. Henry Treadwell, inventor of the Giant Air-ship. 
Victor Lawrence, his pretended friend— a German spy, 
Harold Felton, of the United States Army. 
Cakleton Everton, a young Englishman. 
Karl Schoneman, of the German Secret Servics. 
Franz Muller, his assistant. 
Arthur Merrill, also of the United States Armv. 
Inspector Malcome Steele, of the United StaU^ Secret Servic*^ 
Henry Gootner, a German agent. 
Francis Drury, one of Treadweir s guests. 
Corporal Thayer. 
Private Freeman. 

Ruth Treadwell, Treadwell's daughter, 
Muriel Lawrence, Lawrence's daughter, 
Mrs. Treadwell. 
Margaret Linden, a friend of Ruth's. 

The Time. — America's second summer in the war. 
The Place. — A deserted mansion on a small island near, fiajt* 
port, Maine. 

SYNOPSIS 
Act I. The afternoon of June loth. 
Act II. The evening of September 21st. 

Act III. Scene i. The afternoon of the next day About 1:30. 
Scene 2. An hour later. 

ART CLUBS ARE TRUMPS 
A Play in One Act 
By Mary Moncure Parker 
Twelve females. Costumes of 1890 with one exception ; '«-«pe, a single 
easy interior. Plays thirty minutes. Describes the trials cl an ambitious 
woman who desired to form a club in the early days of club life for 
women about thirty years ago, before the days of telephones and auto- 
mobiles. A capital play for ladies' clubs or for older women in general. 
The costumes are quaint and the picture of life in the year of the Chicago 
World's Fair offers an amusing contrast to the present. Recommended. 
Price, 2S cents 



students at 
Nation Hall School. 



CAMP FIDELITY GIRLS 

A Comedy in Four Acts 

By Edith Lowell 

Dramatized by permission from the well-known story hy 

Annie Hatnilton Donne II 

One male, eleven females. Scenery, two interiors. Plays two hours. 
A jolly party of girls occupy an old farmhouse for the summer and there 
discover a secret that makes for the happiness and prosperity of a poor 
little cripple. A very " human " piece full of brightness and cheer and 
with a great variety of good parts. 

Price, 3S ^^*^^^ 

CHARACTERS 
Barbara Wetherell 
Judy Wetherell, her sister 
Jessica Thayer 

Mary Shepherd, otherwise Plain Mary 
Edna Hull 
Mrs. Tucker, a next-door neighbor. 
Johnnie Tucker, known as Johnnie-Son, 
Barnaby Campbell, a big child. 
Jennie Brett, a country girl. 
Cousin Salome. 
Aunt Elizabeth. 
Uncle Jeff. 

SYNOPSIS OF SCENES 

Act I. Room at Hatton Hall School. 

Act II. Scene I. Camp Fidelity. Afternoon. Scene IT. The 
next morning. 

Act III. Scene I. Same. Two weeks later. Scene II. Midnight. 

Act IV. Scene I. Same. Six weeks later. Scene II. A half 
hour later. 

MARRYING MONEY 

A Play in One Act 

By Alice L. Tildesley 

Four females. Scene, an interior. Plays half an hour. The girls seek 

a job with the millionaire's mother and one of them gets one for life with 

the millionaire. One eccentric character and three straight. 

Price, 23 cents 

THE OVER-ALLS CLUB 
A Farce in One Act 
By Helen Sherman Griffith 
Ten females. Scene, an interior. Plays half an hour. The " Over- 
Alls Club" meets for the first time in its denim costume with enthusiasm 
for economy that only lasts until young Dr. Ellcry is announced. Finishes 
(n pretty gowns. 

Price, 2^ cents 



utti^a 



Plays for Junior High Schools 

Salty Lunu 

Mr. Bob 

The Man from Brandon 

A Box of Monkeys 

A Rice Pudding 

Class Day 

Chums 

An Easy Mark 

Pa*s New Housekeeper 

Not On the Program 

The Cool Collegians 

The Elopement of Ellen 

Tommy's Wife 

Johnny's New Suit 

Thirty Minutes for ^ef reshmeoift 

West of Omaha 

The Flying Wedge 

My Brother's Keeper 

The Private Tutor 

Me an' Otis 

Up to Freddie 

My Cousin Timmy 

Aunt Abigail and the Boy# 

Caught Out 

Constantine Pueblo Jones 

The Cricket On the Hearth 

The Deacon's Second Wife 

Five Fe^t of Love 

The Hurdy Gurdy Qlrl 

Camp Fidelity Girls 

Carroty Nell 

A Case for Sherlock Holmet 

The Clancey Kids 

The Happy Day 

I Grant You Three Wishes 

Just a Little Mistake 

The Land of Night 

Local and Long Distance 

The Original Two Bits 

An Outsider 

Oysters 

A Pan of Fudge 

A Peck of Trouble 

A Precious Pickle 

The First National Boot 

His Father's Son 

The Turn In the Road 

A Half Back's Interference 

The Revolving Wedge 

Mose 

BAKER, Hamilton Place, Boston, Mass. 



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Plays and Novelties That Have Been 



Camp Fidelity Qlrls 

Anita's Trial 

The Farmerette 

Behind the Scenes 

The Camp Fire Qirls 

A Case for Sherlock lloImM 

The House in Laurel Lane 

Her First Assignment 

I Grant You Three Wishes 

Joint Owners in Spain 

Marrying Money 

The Original Two Bits 

The Over-Alls Club 

Leave It to Polly 

The Rev. Peter Brice. Bachelor 

Mfss Fearless & Co. 

A Modern Cinderella 

Theodore, Jr. 

Rebecca's Triumph 

Aboard a Stow Train In Mtzzoiiry 

Twelve Old Maids 

An Awkward Squad 

The Dlow-Up of Algerooa Blow 

The Doy Scouts 

A Close Shave 

Toe First National Boot 

A Half- Back's Inteiicreaco 

His Father's Son 

The Man With the Nose 

On the Quiet 

The People's Money 

A Regular Rah ! Rah I Boy 

A Regular Scream 

Schmcrccase In School 

The Scoutmaster 

The Tramps' Conventloo 

The Turn In the Road 

Wanted— a Pitcher 

What They Did for Jenkins 

Aunt Jerusha's Quilting Party 

The District School at Blueberry 

Corners 
The Emigrants* Party 
Miss Prim's Kindergarten 
A Pageant of History 
The Revel of the Year 
Scenes In the Union Depot 
Taking the Census In BlngvIUe 
The Village Post-Office 
O'Keefe's Circuit 



U 




BAKER, Hamilton Place, Boston, 



